initial commit of ebook 20172HEADmain

9 files changed, 13690 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/20172-8.txt b/20172-8.txt
new file mode 100644
index 0000000..716958d
--- /dev/null
+++ b/20172-8.txt
@@ -0,0 +1,3960 @@
+The Project Gutenberg EBook of The Flutter of the Goldleaf; and Other Plays, by 
+Olive Tilford Dargan and Frederick Peterson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Flutter of the Goldleaf; and Other Plays
+
+Author: Olive Tilford Dargan and Frederick Peterson
+
+Release Date: December 23, 2006 [EBook #20172]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE FLUTTER OF THE GOLDLEAF ***
+
+
+
+
+Produced by David Garcia and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Kentuckiana Digital Library)
+
+
+
+
+
+
+
+
+
+
+
+                    THE FLUTTER OF THE GOLDLEAF
+
+                          AND OTHER PLAYS
+
+
+                                 BY
+                        OLIVE TILFORD DARGAN
+
+                                AND
+                         FREDERICK PETERSON
+
+
+                              NEW YORK
+                      CHARLES SCRIBNER'S SONS
+                                1922
+
+
+
+
+
+
+                        COPYRIGHT, 1922, BY
+                      CHARLES SCRIBNER'S SONS
+
+                             PRINTED AT
+                         THE SCRIBNER PRESS
+                         NEW YORK, U. S. A.
+
+
+
+
+
+
+CONTENTS
+
+
+
+                                                      PAGE
+
+  THE FLUTTER OF THE GOLDLEAF                            1
+
+      BY OLIVE TILFORD DARGAN AND FREDERICK PETERSON
+
+
+  THE JOURNEY                                           49
+
+      BY OLIVE TILFORD DARGAN
+
+
+  EVERYCHILD                                            75
+
+      BY FREDERICK PETERSON AND OLIVE TILFORD DARGAN
+
+
+  TWO DOCTORS AT AKRAGAS                               103
+
+      BY FREDERICK PETERSON
+
+
+
+
+
+
+THE FLUTTER OF THE GOLDLEAF
+
+A PLAY IN ONE ACT
+
+BY
+
+Olive Tilford Dargan
+
+AND
+
+Frederick Peterson
+
+
+
+
+
+
+CHARACTERS
+
+
+  PHILO WARNER, _a student_
+  HIRAM WARNER, _his father, the village grocer_
+  MARY ANN WARNER, _his mother_
+  DR. BELLOWS, _the village physician_
+  DR. SEYMOUR, _a city specialist_
+  REBA SLOAN, _a neighbor's daughter_
+
+
+
+
+THE FLUTTER OF THE GOLDLEAF
+
+
+SCENE: _Laboratory in the attic of the Warner cottage. At right, toward
+    rear, entrance from down-stairs. A rude partition, left, with door
+    in centre. Window centre rear. Large kitchen table loaded with
+    apparatus. Shelves, similarly loaded, against wall near table, right.
+    Wires strung about. A rude couch, bench, and several wooden chairs._
+
+    _Time, about 8 p.m. Lamp burns on table._ MRS. WARNER _comes
+    up-stairs, puts her head inside the room nervously, then enters and
+    looks about._
+
+
+_Mrs. W._
+
+Such a mess! And the doctors will be here in half an hour! (_Tries to
+get busy but seems bothered. Crosses to table and looks at a little
+machine that stands upon it._) _That's_ what's driving my boy crazy! If
+I only dared to smash it! The right sort of a mother would do just that!
+(_Looks at machine with dire meditation._)
+
+_Warner_ (_without, roaring up the stairs_)
+
+Mary Ann!
+
+_Mrs. W._ (_jumps_)
+
+Yes, Hiram!
+
+_Warner_ (_entering_)
+
+Where's Philo?
+
+_Mrs. W._
+
+In the orchard. I watched my chance, and thought I'd redd up a little.
+He won't let me touch anything when he's here.
+
+_Warner_
+
+Just about lives up here, don't he?
+
+_Mrs. W._
+
+Day and night now, since he's been too sick to go to the store. And
+I can't have Dr. Bellows bring in that specialist from New York with
+things lookin' as if a woman had never come up the stairs. (_Dusting
+and rattling._)
+
+_Warner_
+
+Philo's not onto what the doctors are after, is he?
+
+_Mrs. W._
+
+He thinks they're coming to look at his machine mostly--and see what's
+keepin' him awake nights. But maybe he knows. He's awful sharp.
+
+_Warner_
+
+Sharp? Wish he knew enough to sell eggs and bacon. He's ruinin' my
+business. Weighs a pound of coffee as if he was asleep. I can see
+customers watchin' him out o' the tail o' their eye. They're gettin'
+_afraid_ of him! Mary Ann, the boy's going to be a shame to us. He's
+crazy!
+
+_Mrs. W._
+
+Don't you call _my_ boy crazy. I won't hear it, Hiram.
+
+_Warner_
+
+No, you'll wait till the whole village tells you! They're all talkin'
+now!
+
+_Mrs. W._
+
+It's none o' their business!
+
+_Warner_
+
+It'll be their business if he flies up and hurts somebody.
+
+_Mrs. W._
+
+Philo wouldn't hurt anything alive. He got mad at me once for killin'
+a spider.
+
+_Warner_ (_scornfully_)
+
+Showed his sense there, didn't he?
+
+_Mrs. W._
+
+If Philo's queer it's not from my side of the house. You know what your
+mother was like--wanderin' round nights starin' at the stars with that
+old spy-glass Captain Barker gave her.
+
+_Warner_
+
+She was a good mother, all the same.
+
+_Mrs. W._
+
+Couldn't cook at all. Your father only kept alive by eating at the
+neighbors occasionally--and as for sewing and mending, you children went
+in rags till your Aunt Sary came to live with you.
+
+_Warner_
+
+Mother thought a heap of us, though. I remember how she cried because I
+wouldn't go to school and went into the grocery business. And she cried
+a lot more when I married you. I couldn't understand her--_then_....
+
+_Mrs. W._
+
+Humph! She'd been shut up fast enough if your father hadn't been the
+softest-hearted man alive.
+
+_Warner_
+
+Maybe the boy does take after her, but he's worse'n she ever was.
+
+_Mrs. W._
+
+She didn't have any books--or college education--to turn her head.
+
+_Warner_
+
+Nothing to read but the _Weekly Mirror_. It was a good paper, though,
+all about crops and stock, and what the country people were doing, and
+a love story on the inside page. Father subscribed on her account. She
+told him her mind had to have _something_ to work on. But she didn't
+take to the paper, and he had to read it himself to get his money's
+worth.
+
+_Mrs. W._
+
+A good thing she didn't have a library to get at like Philo. All those
+books he brought home didn't do him any good. He began to get queer
+about the time he was reading that set of Sir Humphry Davy's Complete
+Works, with so much about electrics and the stars, and that sort of
+stuff. If we could only get him to quit this studyin' and stay
+out-o'-doors....
+
+_Warner_
+
+S'pose we clear out this hole--burn the books, and get rid of all these
+confounded wires and jars and fixings. I don't believe he saves a penny
+of the wages I give him for helpin' to ruin me. All he makes goes for
+this truck. We'll clear it out.
+
+_Mrs. W._
+
+I've thought of that, but we oughtn't to go too far. They're his anyhow,
+and I'm afraid----
+
+_Warner_
+
+Well, I'm not afraid! And I'll begin with this devil! (_Pauses over
+machine. Starts suddenly._) What's that? He's coming!
+
+_Mrs. W._ (_listening_)
+
+It's only Alice going to her room.
+
+_Warner_
+
+Perhaps we'd better see what the specialist says first.
+
+_Mrs. W._
+
+I know Dr. Bellows wants us to send Philo away. But I'm against that,
+first and last.
+
+_Warner_
+
+You wouldn't be if you'd listen to Bellows awhile. You know what he told
+me when I met him this morning? "Why, Warner," he says, "I never go to
+see the boy without taking a pair of handcuffs in my pocket. It's the
+quiet ones that go the wildest when they do break out."
+
+_Mrs. W._
+
+Oh, Hiram, it's not going to be so bad as that. Don't let him set you
+against your own flesh and blood. Just let me manage awhile. He needs to
+get stirred up about something--get his mind off this. I wish I hadn't
+stopped those letters he was getting from Reba Sloan when she went off
+to school two years ago.
+
+_Warner_
+
+But you said you'd rather see him dead than married to Sloan's girl.
+
+_Mrs. W._
+
+I meant it, too! But seeing your child dead is not so bad as seeing him
+crazy--and if Reba can save him----
+
+_Warner_
+
+How in thunder----
+
+_Mrs. W._
+
+She's a taking girl, Hiram--since she got back. If Philo gets his mind
+fixed on _her_, she'll soon have him forgettin' this. Why,--you remember
+for three months before we were married you couldn't think o' nothing
+but me.
+
+_Warner_
+
+Good Lord! Is that so, Mary Ann?
+
+_Mrs. W._
+
+I had to hurry up the weddin' to save your business. You were letting
+Jabe McKenny take all your trade right under your nose.
+
+_Warner_
+
+Sakes 'a' mighty! If I could come out of a spell like that, there's some
+hope for our poor chap.
+
+_Mrs. W._
+
+That's what I'm telling you!
+
+_Warner_
+
+But Reba's father--you going to have old fiddler Sloan in the family?
+
+_Mrs. W._
+
+He's come into some money now, and any gentleman can take an interest
+in music.
+
+_Warner_
+
+And the mother was that foreign woman.
+
+_Mrs. W._
+
+But she's dead. It's just as well Philo won't have a mother-in-law.
+
+_Warner_
+
+Reba'll have one, all right. If Philo stays queer it'll be hard on the
+girl, won't it?
+
+_Mrs. W._
+
+He'll not stay queer. If he gets that girl in his head there won't be
+room for anything else--for a while anyway. He'll be worse'n you ever
+was. You let me manage it, Hiram.
+
+
+(PHILO _is heard coming up the stairs. They listen in silence until
+    he enters. He is talking, not quite audibly, to himself, and
+    doesn't see them. Goes to table and stands by machine._)
+
+_Philo_
+
+Here--at last--I have caught the word ... the word of the stars.
+
+_Mrs. W._
+
+Philo!
+
+_Philo_ (_looking up_)
+
+Mother!... Father!... (_In alarm._) You haven't touched anything here?
+
+_Mrs. W._
+
+No, my son. I've just put the place to rights a bit. Dr. Seymour is
+coming, you know.
+
+_Philo_
+
+Yes. (_Walks the floor, meditating._)
+
+_Warner_
+
+You must come out of this dream, Philo.
+
+_Philo_
+
+It is not a dream! I am the only being in the world who is awake!
+
+_Mrs. W._
+
+My son!
+
+_Philo_
+
+Man sleeps--like the rocks, trees, hills--while all around him, out of
+the unseen, beating on blind eyes, deaf ears, numbed brain, sweep the
+winds of eternity, the ether waves, the signals from the deeps of space!
+
+_Warner_
+
+Hey, diddle, diddle!
+
+_Philo_
+
+Sleep-walkers all--the people in the streets, the shops--the mad people
+with their heaps of gold!
+
+_Mrs. W._
+
+Now don't work yourself up, Philo, with the doctor coming. You want to
+tell him about your machine.
+
+_Philo_
+
+Yes. He is a great man. He has studied these things. I will talk to him.
+He will not laugh.
+
+_Warner_
+
+Mary Ann, don't you think we'd better bring up some cider? It'll look
+more hospitable like.
+
+_Mrs. W._
+
+That city doctor won't care anything about cider.
+
+_Warner_
+
+My cider's good enough for anybody! And Dr. Bellows'll be sure to ask
+for it.
+
+_Mrs. W._
+
+Well, wait till he does. (_Looks uneasily about room._) Don't you think,
+son, that if you're going to take to having visitors here I'd better
+move some furniture up? You could have the haircloth sofa--the springs
+are broke anyway--and Alice says she don't want the wax flowers in the
+parlor any more. They're turnin' yellow, but you wouldn't notice it up
+here.
+
+_Philo_ (_clinching his hands_)
+
+Do what you like, mother, only don't take anything _out_. If anything
+happened to my work I believe I'd go crazy!
+
+(_The parents look at each other._)
+
+_Warner_
+
+Thought your work was tendin' the store.
+
+_Philo_
+
+Brother Will is more help there than I am, father.
+
+_Warner_
+
+You're right about that. Will's got a head on.
+
+_Mrs. W._
+
+You'd better go down, Hiram, and meet the doctors.
+
+_Warner_
+
+Alice'll show them up.
+
+_Mrs. W._
+
+Where's that strange smell comin' from? Do you work in the other room,
+too, Philo? (_Goes in, left._)
+
+_Philo_
+
+Father ... I'm sorry about the store ... I wish I could tell you ... but
+what's the use? You won't believe!
+
+(_Re-enter_ MRS. W.)
+
+_Mrs. W._
+
+Gracious! I couldn't breathe in there! Got to clear _something_ out
+before Reba comes up here. She'd have no respect for my housekeeping.
+
+_Philo_
+
+Reba?
+
+_Mrs. W._
+
+Reba Sloan. She's been asking if she couldn't come. She's just wild to
+see your machine.
+
+_Philo_
+
+Don't you ever let her up here, mother!
+
+_Mrs. W._
+
+But she asked me, Philo--and a neighbor's daughter, you know----
+
+_Philo_
+
+I thought she was away from home.
+
+_Mrs. W._
+
+Been back a month--walks all about right under your eyes. You ought to
+be _civil_, Philo.
+
+_Philo_
+
+I want to see Dr. Seymour. I should like to have him know what I'm
+doing. But if you're going to turn the whole village in here, I'll bar
+the door, that's all.
+
+_Mrs. W._
+
+My son, if you'd only interest yourself a little----
+
+_Philo_
+
+I'm not interested in anything nearer than thirty-five million miles!
+
+_Warner_
+
+What did I tell you, Mary Ann?
+
+_Mrs. W._
+
+I hear the doctors! Now, Philo, if you can't talk sense, don't say
+_anything_.
+
+    (_Enter_ SEYMOUR _and_ BELLOWS.)
+
+_Bellows_
+
+Good evening, Warner. How d' do, Mrs. Warner! My friend, Dr. Seymour.
+
+_Warner and Mrs. W._
+
+How do you do, sir!
+
+_Bellows_
+
+Philo, I've brought Dr. Seymour around to have a talk with you. He's
+down from New York for a day or two. Been sleeping any better?
+
+_Philo_
+
+Too much. I need all my time. I'm very glad to see you, Dr. Seymour.
+
+    (_All take seats._)
+
+_Mrs. W._
+
+I hope you'll excuse the looks of the room, doctor.
+
+_Seymour_
+
+It looks very interesting indeed to me, Mrs. Warner. The workshop of a
+student, and a busy one. (_To_ PHILO.) You've been working too hard, I
+see.
+
+_Philo_
+
+I'm tired, perhaps, but I am well. When a man makes a momentous
+discovery he is apt to be overwrought. He may not eat or sleep well for
+a time. He may even appear to be strange or mad.
+
+    (MRS. W. _coughs suddenly._)
+
+_Mrs. W._
+
+I'm afraid that's not a comfortable chair, Dr. Seymour.
+
+_Seymour_
+
+Quite comfortable, Mrs. Warner.
+
+_Mrs. W._ (_rapidly_)
+
+Philo is my oldest boy, and I never could keep him away from books.
+Will, my second son, is as steady in the store as his father himself,
+and Johnny is just fine on the wagon. As for Alice, there's not a neater
+all-round girl to be found anywhere. They're healthy, sensible children,
+every one of 'em, and don't care what's inside any book in the
+world--but Philo was just bent on going to college----
+
+_Seymour_
+
+A very natural bent for an ambitious boy.
+
+_Bellows_
+
+Tell us about the discovery, Philo, my lad.
+
+_Philo_ (_rising and walking slowly up and down the room_)
+
+I think I will. It will be another experiment. I know what the effect
+will be on Dr. Bellows. He is an old friend of mine--but you, sir, are a
+stranger. I should like to try your mind and see if you are awake or
+asleep.
+
+    (BELLOWS _winks toward_ SEYMOUR, _who takes no notice, but gives_
+    PHILO _careful attention._)
+
+_Seymour_
+
+I hope I shall not disappoint you.
+
+_Philo_
+
+I believe we have some points of view in common, for your profession
+needs to take note of many problems connected with both evolution and
+electricity. I have been a reader of general science for many years.
+The fact that on the earth we have had a slow evolution from a monad
+to a man contains a promise of further development of man into--let us
+say an angel.
+
+_Bellows_
+
+Not very soon, I guess.
+
+_Philo_ (_sharply_)
+
+Hardly in your day, doctor. You needn't worry about the fashion in
+wing-feathers.
+
+_Seymour_
+
+Go on, Mr. Warner.
+
+_Philo_
+
+In others of the many millions of globes about us in space, a similar
+evolution is going on, and in some the evolution is less advanced than
+in ours, in others incomparably more advanced.
+
+_Seymour_
+
+We may admit that.
+
+    (BELLOWS _looks to_ WARNER _for sympathy, and shakes his head._)
+
+_Philo_
+
+We have reached a stage when we have begun to peer out into the stellar
+depths and question them. We are beginning to master the light and the
+lightning, to measure the vastness of space, to weigh the suns, to
+determine the elements that comprise them, to talk and send messages
+thousands of miles without wires. Each year uncovers new wonders,
+infinitely minute, infinitely great.
+
+_Seymour_
+
+True,--all true.
+
+_Philo_ (_becoming more repressed and tensely excited as he goes on_)
+
+The dreams of the alchemists are being realized. That machine yonder
+detects the waves from a millionth of a millionth of a milligramme of
+radium.
+
+_Seymour_
+
+What!
+
+_Philo_
+
+I have invented a tuned electroscope that would be destroyed by such
+waves, so sensitive as to react only to waves from an inconceivable
+distance, beyond thirty-five million miles.
+
+_Seymour_ (_trying to take it in_)
+
+Thirty-five million miles!
+
+_Philo_ (_with great tension_)
+
+Three weeks ago I made this instrument, and ever since then, at regular
+intervals, there have been rhythmic flutterings of the goldleaf, regular
+repetitions, as if it were knocking at the door of earth from the
+eternal silences. I have watched it--the same measured fluttering--two
+beats--then three--then two--then four and a pause! It is a studied
+measure! It has meaning! When I first noticed it--the faint flutter of
+the goldleaf--and knew that any waves from a nearer point than
+thirty-five million miles would utterly destroy so delicate an
+instrument--my hair stood on end. I have watched it three
+weeks--alone--and you ask me why I do not sleep!... Look!
+
+    (_The doctors spring up electrified, and stare at the instrument._)
+
+_Philo_
+
+There it is again! Two beats--then three--then two--then four--now it
+is over!
+
+    (SEYMOUR _continues to stare at the instrument._ BELLOWS _subsides
+    into a chair, looking foolish._)
+
+_Seymour_ (_to himself_)
+
+Impossible!... (_To_ PHILO.) What was it you were saying? What
+did you see?
+
+_Philo_
+
+I saw what you saw--signals from a distance farther than the distance
+of the nearest planet to our earth.
+
+_Seymour_ (_shaken_)
+
+But I saw nothing. At least a slight movement in anything so sensitive
+might be due to many causes....
+
+_Philo_
+
+Yes! It is always the old story. Truths must be hammered into humanity!
+Branded in with flame, or driven in with sword and bullet!
+
+_Bellows_ (_starting up alarmed_)
+
+Hadn't we better be going, doctor?
+
+_Philo_
+
+Oh, no! Wait till you've talked me over. Decide whether I'm mad or not!
+If I'm a menace to the community! If I must be locked up! My father and
+mother are waiting to know. Don't go! Finish your work! (_Rushes into
+room, left._)
+
+_Bellows_ (_triumphantly to_ SEYMOUR)
+
+Well?
+
+    (SEYMOUR _hesitates, looks at the father and mother, then at_
+    BELLOWS, _and takes out his match-case._)
+
+_Bellows_ (_making a conquest of the obvious_)
+
+Warner, a little of that fine cider of yours would just finish off our
+chat.
+
+_Warner_
+
+Nothing better! (_Starting out, whispers to_ MRS. W.) Where's grandma's
+silver pitcher?
+
+_Mrs. W._
+
+I'll get _that_.
+
+    (_They go down-stairs._)
+
+_Bellows_ (_laughing_)
+
+She never lets him go to the cellar by himself.
+
+_Seymour_
+
+Not a drinker, is he?
+
+_Bellows_
+
+Oh, no! The pattern of a deacon. But she keeps her hand on.
+
+    (SEYMOUR _lights a cigar thinkingly._)
+
+_Bellows_
+
+No use to go over this case. It's clear enough. We'll have our
+cider--it's worth waiting for--then go to my office and fix up the
+commitment papers.
+
+_Seymour_ (_rubbing his hand slowly over his forehead_)
+
+To talk with such a patient sometimes bewilders the brain. He seemed so
+clear in his utterance--so rational----
+
+_Bellows_
+
+Funny, wasn't he? I almost believed it myself for a minute.
+
+_Seymour_
+
+It might be true.
+
+_Bellows_
+
+Hey?
+
+_Seymour_
+
+Perhaps we are all somnambulists moving about in this dream-world we
+call practical life. Behind this tough matter that takes so many shapes
+and colors, what strange secrets are hidden, just beginning to reach our
+dull senses--X-rays, radium emanations, wireless waves.
+
+_Bellows_
+
+Oh, they're natural enough now. Common sense has adopted them.
+
+_Seymour_
+
+Yes, we are easily satisfied. Give a mystery a name and that's enough
+for the most of us. But here and there are minds that must explore
+further; and if they discover something beyond the comprehension of us
+who stay behind, we call them mad.
+
+_Bellows_
+
+Well, none of your mind-puzzles for me. Give me something clear cut,
+like typhoid, or measles, an amputation, or new babies, something I can
+fix my eyes on. You can take care of the madmen--except when they're
+in my own village. I'm not going to have a boy like Philo gibbering
+around ready to break out wild any time.
+
+_Seymour_
+
+It's true he may be led into frenzy, or even self-destruction, but it
+will be from overwork and loneliness. I must have a talk with the
+parents----
+
+_Bellows_
+
+What do you expect _them_ to do? They're asking us for help. And _I'm_
+willing to give it to them.
+
+    (_Re-enter_ WARNER _and_ MRS. W. _He carries pitcher, she carries
+    tray with glasses._)
+
+_Seymour_ (_to_ BELLOWS)
+
+We'll see. As I say, the boy has been losing sleep, and giving his mind
+no rest.
+
+_Mrs. W._ (_holding tray while_ WARNER _pours cider_)
+
+Just what I say, doctor. He's studied himself sick.
+
+_Seymour_
+
+You must get him out of here, Mrs. Warner. (_Sipping cider._) Excellent,
+indeed!
+
+_Mrs. W._
+
+I'm doing my best.
+
+_Warner_ (_to_ BELLOWS, _who has drained his glass_)
+
+You're at home, doctor. Just help yourself.
+
+    (_He does._)
+
+_Seymour_
+
+What is his age?
+
+_Mrs. W._
+
+Twenty. He went early to college.
+
+_Seymour_ (_musingly_)
+
+The usual age. Twenty. (_Sighs._) The age of visions and enchantments.
+"The thoughts of youth are long, long thoughts."
+
+_Bellows_
+
+What are you saying, doctor?
+
+_Seymour_
+
+Just thinking. It's a healthy family, isn't it?
+
+_Mrs. W._
+
+I should say! Why, Will and Johnny and Alice----
+
+_Bellows_
+
+Best sort. The thoroughbreds of the town. Temperate, thriving, regular
+at church. Warner here was once county supervisor. (_Clapping him on
+shoulder._) Never had a better one.
+
+_Seymour_ (_to_ WARNER)
+
+And your parents?
+
+_Warner_
+
+Father was a sound, practical man. Stood flat-footed, I may say.
+
+_Seymour_
+
+And your mother?
+
+_Mrs. W._
+
+Law me, Hiram Warner thinks there was never anybody in the world like
+his mother. And there never _was_!
+
+_Seymour_
+
+That's good to build on. It is clear that your boy is ill, and the
+burden of his knowledge, whether truth or delusion, is far too great for
+him to bear. If you could interest him for even a brief time in ordinary
+life--(_smiling_) miracles that are too common to be disturbing--throw
+him with young people----
+
+_Bellows_
+
+You don't mean you won't sign the commitment papers!
+
+_Seymour_
+
+Just that. I shall not sign them.
+
+_Mrs. W._ (_gratefully_)
+
+Oh, doctor!
+
+_Bellows_
+
+After what you saw here with your own eyes? He's completely gone off!
+
+_Seymour_
+
+The boy may be right. Under this tiny consciousness of ours lie vast
+fields of subconscious intelligence as yet unexplored. Beyond our earth
+are still greater mysteries, unimaginable, unthinkable.
+
+_Bellows_ (_in disgust_)
+
+And I counted on your common sense!
+
+_Seymour_
+
+Common sense is itself too frail and uncertain a thing to be a criterion
+of sanity. The common sense of yesterday is to-day's folly, and our
+present common sense will be the madness of to-morrow.
+
+_Bellows_
+
+Well, I'll be--I'll wait for you down-stairs, doctor. (_Exit._)
+
+_Seymour_
+
+The lad ought not to be in there alone. (_Goes to door._) Philo, my boy!
+
+    (PHILO _comes out. He is extremely pale, his black hair pushed
+    from his forehead, and his eyes burning, but his manner is calm._)
+
+_Philo_
+
+Well, am I a free man?
+
+_Seymour_
+
+You are free, Philo.
+
+_Philo_ (_perfunctorily_)
+
+Thank you, doctor.
+
+_Seymour_
+
+But you must have rest from this work. These subjects are too
+overwhelming for a sane brain to carry without harm. This attic is
+gloomy and the atmosphere unhealthy. You must have a complete change.
+
+_Philo_
+
+I see. That is your answer to my discovery. (_Turns suddenly to_
+WARNER.) And what do you think of it, father?
+
+_Warner_
+
+I don't seem to get hold of it, somehow, Philo. (_Crosses to machine and
+stares at it._) What's the good, anyhow? They're too far away.
+'Twouldn't help business.
+
+    (PHILO _gives a queer laugh._ WARNER _opens door._)
+
+_Warner_
+
+I'll see you down-stairs, doctor. (_Exit._)
+
+_Philo_ (_turning to_ MRS. W.)
+
+And you, mother?
+
+_Mrs. W._ (_bustling up and gathering tray and glasses_)
+
+I've got to set my bread. (_Crosses to machine and stares at it, holding
+tray._) What'll we come to if folks in the stars begin pesterin'? We've
+got enough to 'tend to right here. (_Goes out muttering._) Got to set my
+bread.
+
+    (SEYMOUR _and_ PHILO _look at each other and smile._)
+
+_Seymour_
+
+Won't you come down, Philo?
+
+_Philo_
+
+No. It's livelier for me up here. More to think about. But don't worry
+about me, doctor. I know this is the end. If I can't convince you, then
+all the world must think it hallucination.
+
+_Seymour_
+
+I'm not unconvinced. I simply don't know. And I'm deeply interested. But
+you can't stand it, Philo. Get out of this. Be young. This is for older
+heads. You'll have plenty of time. Get out--do anything. Fall in
+love--fall in love--that will give you mysteries enough for a while.
+Yes, I mean it--and don't forget, my dear boy, that you've interested
+me.
+
+    (_Shakes hands with_ PHILO _and goes down._ PHILO _listens until
+    he has reached the foot of the stairs._)
+
+_Philo_
+
+The heavens open--the suns speak--and he is--interested! (_Closes
+door._) Alone!... Fall in love! Light the candle and put out the
+stars!... (_Returns to his instrument._) ... It is still.
+
+    (_Steps are heard on the stairs, then a knock at the door.
+    He crosses softly to door and shoots the bolt._)
+
+_Voice_ (_without_)
+
+It's Reba, Philo! Won't you let me in?
+
+    (_He is silent, and steps retreat._)
+
+_Philo_ (_crossing to centre_)
+
+Reba! That folly's done with, thank God!... (_Begins walking._)
+Seymour.... I didn't know how much I was hoping from him.... It is hard,
+hard to go on alone. But I _must_! I can't turn back from that call.
+When a child cries we turn, and listen, and help. And this--_this_ is
+the voice of a world!
+
+    (_A knock is heard at door._)
+
+_Voice of_ WARNER
+
+Philo!
+
+_Philo_
+
+Buzz, buzz, old bee!
+
+_Voice_
+
+Come down, son!
+
+_Philo_
+
+Please leave me alone, father. I can't bear anything more to-night.
+
+    (_A pause, and_ WARNER _goes down._)
+
+_Philo_ (_coming to table_)
+
+I will work--work--work! (_Busies his hands._) Not a voice to help
+me--not a smile of hope--not a touch of sympathy. (_Sits still and
+despairing._) ... Perhaps the time is not ripe for larger knowledge.
+Nature and the Divinity that guides her must protect their new evolving
+creatures. A too sudden revelation and they might perish from sheer
+wonder.... Yes, truth must come softened, as a dream, to the man child's
+brain. Its naked light would sere and blind him forever.... But to me it
+has been given to see--to hear--and keep sane in the light. Oh, from
+what planet is the call? From what one of the hundred million spheres?
+How many centuries has it been sent outward to the deaf, the dumb, and
+the blind? And what is the word? Is it Hail? Help? Hope?... Or is it an
+answer? An answer to some signal of mine? How shall I know?... How shall
+I know?
+
+    (_There is a noise outside the window._ PHILO _does not look up._
+    REBA _appears and leaps lightly through the windows. Advances centre.
+    Her dress is of clinging black, relieved by a floating scarf of
+    cloudy white. She has a mass of blonde hair, and all the charms
+    properly belonging to her age, which is eighteen._)
+
+_Reba_
+
+Philo!
+
+_Philo_ (_turning_)
+
+Reba!
+
+_Reba_
+
+Don't be angry.
+
+_Philo_
+
+How did you get here?
+
+_Reba_
+
+The window. Don't you remember--you showed me how to climb up once--with
+a ladder--the tree--and the shed roof? Oh, the things you've forgotten,
+Philo!
+
+    (_He goes to door and unbolts it._)
+
+_Philo_
+
+You must go down, Reba. (_She does not move._) What will mother say?
+
+_Reba_ (_laughing_)
+
+She held the ladder for me.
+
+_Philo_
+
+Mother?
+
+_Reba_
+
+You've frightened her so. You mustn't bolt the door again. She's afraid
+you'll do something dreadful.
+
+_Philo_
+
+You were not afraid to come.
+
+_Reba_
+
+I like to take risks. Life's dull in this village.
+
+_Philo_
+
+How you've changed, Reba!
+
+_Reba_
+
+It's taken you long enough to find it out. I've been back a month.
+
+_Philo_
+
+You'd better go down. I'm very busy, and I've had a long interruption
+this evening.
+
+_Reba_
+
+I'm going to interrupt some more. Dr. Seymour says it's good for you.
+
+_Philo_ (_angrily_)
+
+Dr. Seymour knows you've come?
+
+_Reba_
+
+Yes. He said you might like the surprise. Don't you like it, Philo?
+
+    (_Comes near him._ PHILO _turns away and busies himself about
+    the table and shelves as if he meant to ignore her utterly._
+    REBA _watches him, then goes to window and takes a large apple
+    from the ledge. Comes back._)
+
+_Reba_
+
+I brought you an apple--such a love of an apple. There's a whole summer
+of sunsets in it. I climbed the tree myself.
+
+_Philo_ (_not looking_)
+
+Thank you; I don't eat.
+
+_Reba_
+
+Don't eat! Well, there it is! (_Throws it on the table. He jumps to
+protect his instrument._) You can _lick_ it when you're hungry!
+
+    (_He sits down and begins to work. She walks to other side of table
+    and picks up a book._)
+
+_Reba_
+
+Oh! Our old "Swiss Family Robinson"! The very one we read together! With
+our names in it! You've kept it all the time! (_Hugging it._) Dear old
+book! (_Turns the leaves._) Why--the leaves are half gone!
+
+_Philo_
+
+They're handy for cleaning my wires.
+
+    (_She throws the book down, and stands uncertain._)
+
+_Philo_
+
+Going, Reba? Good night!
+
+_Reba_
+
+No, I'm not going. This is my last chance. You'll bar the window
+to-morrow.
+
+_Philo_ (_determinedly_)
+
+Yes, I will.
+
+    (_He bends closely over his work. She lies across the table opposite,
+    watching his movements intently. He fumbles for a tool._)
+
+_Reba_
+
+The little one? Here it is!
+
+    (_Hands him a small wire tool. He stares at her face so near his
+    own, then takes the instrument and works confusedly. Jumps up and
+    tries to reach a jar on one of the shelves._ REBA _leaps onto a
+    chair, takes the jar and hands it down. He stares, and takes jar._)
+
+_Reba_ (_as he returns to table_)
+
+Ugh! These jars are so dirty, Philo. May I wash them for you?
+
+_Philo_
+
+Heavens, no!
+
+_Reba_
+
+Oh, _that_ makes you sit up! (_Hums a little, leaps down and begins to
+move the things on the table._) I'll make the table tidy for you, Philo.
+
+_Philo_ (_grabbing her hands_)
+
+Stop!
+
+_Reba_ (_sings, swinging his hands across the table_)
+
+"All around the mulberry bush----"
+
+_Philo_
+
+Let go!
+
+_Reba_
+
+Why, you're holding _me_!
+
+    (_He drops her hands and goes to window, as if intending flight.
+    She becomes subtle._)
+
+_Reba_
+
+Dr. Seymour says you've done something wonderful, Philo. Won't you show
+me your machine?
+
+_Philo_
+
+No.
+
+_Reba_
+
+But I _care_! I care more than anybody! I _want_ you to be great. I
+could sit by you all my life just watching you being great.
+(PHILO _smiles. She twirls over to him._) And I don't _like_ to
+be still, either.
+
+_Philo_
+
+But suppose people began to laugh at you as they do at me?
+
+_Reba_
+
+I wouldn't care. Show me the machine, Philo.
+
+    (_Takes his arm and they move back to table._)
+
+_Philo_
+
+There it is.
+
+_Reba_ (_hovering over it_)
+
+This is it. (_Throwing her head back._) Tell me about it.
+
+_Philo_
+
+Reba--your throat is--so white.
+
+_Reba_ (_bending suddenly over machine_)
+
+There's something moving.
+
+_Philo_
+
+So white.
+
+_Reba_
+
+Two--one--two, three----
+
+    (PHILO _goes to door and flings it open._)
+
+_Philo_
+
+Reba, go down!
+
+    (_She crosses to door, shuts it, and stands with her back against it._)
+
+_Reba_
+
+Not till we've had a talk, Philo. I've a right to it after what you said
+two years ago--when I went away to school. Have you forgotten it? Shall
+I tell you what you said?
+
+_Philo_
+
+No!
+
+_Reba_
+
+You said you loved me, Philo. And I believed it for two years. When I
+came back you were silent. I've tried to make you speak--I've got in
+your way--I've done everything nice girls don't do--because--I love you
+as much as you love _that_! (_Waves her hand toward the machine._)
+
+_Philo_
+
+Don't say it. It can't be true. No woman could love so much as that.
+(_Goes back to table._)
+
+_Reba_ (_following him_)
+
+I don't ask you to love me. But let me come here and sit by you
+sometimes. I could be happy then--though I don't _like_ to be still.
+I was going to a dance to-night.
+
+_Philo_
+
+A dance!
+
+_Reba_
+
+But I knew you were up here alone--and I had heard--oh, my dear!--that
+they were going to send you away. I couldn't bear it. I _had_ to come.
+Oh, Philo, they shall not send you away! Dr. Seymour says all you need
+is a new interest.
+
+_Philo_
+
+To dance, perhaps!
+
+_Reba_
+
+Well--why not? It is fun. We were to be in fancy dress, and I was going
+as Night. See--(_waving her scarf_) this is my cloud--and my hair is the
+moon! I washed it to-day so it would be fluffy. Just see how soft it is!
+
+_Philo_ (_touching her hair_)
+
+How fine! Will you give me a lock, Reba?
+
+_Reba_
+
+Oh, yes! Where are your scissors? Here! (_Takes scissors from table._)
+You cut it, Philo. (_He takes scissors._) Anywhere. It's curly at the
+neck and temples.
+
+_Philo_ (_cutting lock_)
+
+I don't want a curl. (_Puts hair carefully in table drawer._) I'm making
+a new machine and I need long hairs for some of the parts.
+
+_Reba_ (_raging_)
+
+You sha'n't have it! You sha'n't!
+
+    (_Tries to open drawer. They struggle. She gets her arms about his
+    neck._)
+
+_Philo_ (_pushing her off_)
+
+Your throat----
+
+    (_Kisses it. She clings to him, and he sits down, holding her on his
+    knee._)
+
+_Reba_
+
+I knew! I knew! Oh, Philo, you _haven't_ forgotten! You
+remember--everything!
+
+_Philo_
+
+Everything!
+
+_Reba_
+
+That day we went fishing and----
+
+_Philo_ (_laughing_)
+
+Forgot the tackle!
+
+_Reba_
+
+And that last evening in the orchard, when you said----
+
+_Philo_
+
+I love you!
+
+_Reba_
+
+Oh, you look just as you did then--so happy! I nearly died when I came
+home and saw the change in your face. It seemed to shut me out, like a
+great iron door. Philo.... You won't forget again?
+
+_Philo_
+
+Never!
+
+_Reba_
+
+And I may come every day?
+
+_Philo_
+
+Every day!
+
+_Reba_
+
+I'll help you, Philo. I'll give you all my hair. (_Lays her head on his
+shoulder._) And I'll let you work and not think of me at all. You can
+live with your stars----
+
+_Philo_ (_kissing her_)
+
+There are no stars!
+
+_Reba_ (_laughing_)
+
+I'll never be jealous again! (_Gets up._) Come! Let's see what the dinky
+thing is doing!
+
+    (_Goes to table._ PHILO _watches her, slowly repeating her name._)
+
+_Reba_
+
+What a little thing it is! And--there _is_ something fluttering!
+
+    (PHILO _crosses, still seeing nothing but the girl._)
+
+_Reba_
+
+See--I'm trying to count--two--three----
+
+    (_He looks down, and becomes transfixed._)
+
+_Philo_
+
+Oh, my God! They've changed the signal!... Look, Reba! Count the beats!
+Count for me! Count!
+
+_Reba_ (_confused_)
+
+Two--three--no, four----
+
+_Philo_
+
+Can't you _count_? Get away! (_Pushes her aside._)
+Two--three--four--three-- They have _changed_ it! Oh, I must answer!
+
+_Reba_
+
+Philo----
+
+_Philo_
+
+Go down!
+
+_Reba_ (_clinging to him_)
+
+I won't--I won't----
+
+_Philo_ (_putting her in a chair_)
+
+Sit there, then. And for God's sake be still! (_Returns to machine and
+counts under his breath._) It is true--it is true--and I am not ready! I
+am dumb, like all the world! I cannot let them know! (_Walks the floor,
+muttering_) But I will--I must. (_Crosses to window._) I must do
+it!--think of nothing else--nothing! I shall not sleep till it is
+done!... But they will call me mad--lock me up before I have finished,
+God, before I have finished!
+
+_Reba_
+
+Philo, listen!
+
+_Philo_
+
+It's the world's way ... to beat the spirit down ... the eager spirit,
+superbly sane, daring to pierce the barriers between heaven and earth!
+
+_Reba_
+
+I'll not sit here! (_She sits nevertheless._)
+
+_Philo_
+
+Oh, Truth-driven martyrs, seers of visions, prophets of the old world
+and the new, born out of your time to suffer by fire, by sword, and
+prison bars!
+
+_Reba_ (_cooingly_)
+
+Dear Philo!
+
+_Philo_
+
+I too shall join you! Forerunners of the waking spirit of the world!
+
+    (REBA _gets before him as he walks. Completely absorbed, he puts
+    her aside, absently but gently, as if she were a kitten he did not
+    wish to hurt._)
+
+_Philo_
+
+I must finish it--I must--before they beat me down! (_Pauses by
+machine._) There is no one but me to do it. If I fail they may have
+to wait another million years--out there--working, waiting. (_Resumes
+walk._) I shall not fail. I have gone too far. God will take my part
+now. Be it His own eternal sign, I will answer it!
+
+_Reba_
+
+I'll make you see me!
+
+    (_Runs to table, leaps upon it and begins a dance among the wires
+    and bottles. He is stunned for a moment, then rushes to her, seizes
+    her waist with both hands, lifts her up, and flings her to a chair._)
+
+_Philo_
+
+Sit there, you dragon-fly! Or I'll crush you! (_Goes to window, as if
+for breath and air. Recovers poise._) Let them think me mad. Up here I
+shall work it out. And I shall not be alone. Earth will not hear me, but
+the heavens will listen. (_Holds his hands toward the stars._) My only
+friends!
+
+_Reba_
+
+Crush me! (_She steals up to the table, seizes a large book, and brings
+it down with utter destruction upon his machine._ PHILO _turns and sees.
+They face each other. She shrinks, terrified._) Don't, Philo! (_Kneels,
+throwing back her head, showing the long line of her throat._) Forgive
+me! It was driving you mad! I wanted to save you! Don't look like that!
+Forgive me, Philo!
+
+_Philo_
+
+Your throat--is--so white!
+
+    (_Seizes and chokes her. As he seizes her she gives a cry of terror._
+    WARNER, MRS. W., SEYMOUR, _and_ BELLOWS _rush up the stairs and
+    enter._ PHILO _takes his hands from the girl's throat and stands
+    apart. She lies motionless._)
+
+_Warner_ (_roaring_)
+
+You've managed, Mary Ann!
+
+_Bellows_ (_excitedly_)
+
+Who's right, now, Seymour?
+
+    (SEYMOUR _bends over_ REBA, _listening for her heart-beat._)
+
+_Warner_ (_choking_)
+
+A hanging in the family!
+
+_Mrs. W._
+
+Is she--dead?
+
+_Seymour_
+
+No. It is chiefly fear. (_Works over her body._)
+
+_Philo_ (_to himself_)
+
+Poor little bird! Poor little bird!
+
+_Bellows_ (_taking a pair of handcuffs from his pocket and offering them
+to_ WARNER)
+
+Better clap these on him. We're none of us safe.
+
+_Philo_
+
+Handcuffs, doctor? I'll make no trouble.
+
+    (_Holds out his hands and_ BELLOWS _fastens handcuffs._)
+
+_Bellows_
+
+It's for your own good, Philo.
+
+_Seymour_
+
+Our mistake--our mistake! Poor boy!
+
+_Bellows_
+
+Poor _girl_, I should say!
+
+_Seymour_ (_lifting_ REBA)
+
+I'll take her down-stairs. (_Carries her to door._) I shall need you,
+Mrs. Warner.
+
+    (MRS. W. _follows, weeping and looking back at_ PHILO.)
+
+_Philo_
+
+I'm all right, mother.
+
+_Mrs. W._
+
+_All right._ Oh, God help him! (_Exit._)
+
+_Bellows_
+
+Clean mad!
+
+_Philo_ (_crosses, and looks down on the wreck of his machine_)
+
+Silent ... but I have heard! The divine whisper has reached me!
+
+_Bellows_
+
+That's still on his mind, you see. Better leave him up here till
+morning. Seymour and I will fix up the papers and take him off
+to-morrow. I'm sorry, Philo, but you know it's for the best.
+
+_Philo_
+
+I'll make no trouble. Don't worry, doctor.
+
+_Bellows_ (_to himself, going_)
+
+Lord, he's cool! (_Advising_ WARNER, _in cautiously lowered
+tone._) That's the way with the worst of them. (_Exit._)
+
+_Warner_
+
+Want me to stay with you, Philo?
+
+_Philo_
+
+No, father.
+
+_Warner_ (_relieved_)
+
+Good night, son. (_At door._) Mother'll send up some blankets. (_Exit._)
+
+_Philo_
+
+Blankets!...
+
+(CURTAIN)
+
+
+
+
+
+
+THE JOURNEY
+
+BY
+
+OLIVE TILFORD DARGAN
+
+
+
+
+CHARACTERS
+
+
+  PRINCESS WONG FE, _bride of Yu Tai Shun_
+  SO SIU, _her friend_
+  PRINCE CHING
+  MAKURO, _of Japan_
+  YU TAI SHUN, _of all nations_
+
+
+
+
+THE JOURNEY
+
+
+SCENE: _Room in a farmhouse above Siangtan, where the Siang flows among
+    hills. The rear of room has wide exit to a porch, beyond which show
+    the tops of pear and peach trees in full bloom. Steps lead down to
+    the orchard, and the orchard slopes to the river._
+
+    WONG FE _and_ SO SIU _present._
+
+
+_Wong Fe_
+
+My lily So Siu, has not the dishonorable color left my wretched cheeks?
+Is not my face like the dough before it goes into the oven?
+
+_So Siu_
+
+Oh, my golden Fe, pearls in the dawn are no fairer!
+
+_Wong Fe_
+
+But these cow-girl's tatters! Would not my gown of meadow-green mist
+with the peach-gold underrobe make me less haggard?
+
+_So Siu_
+
+When your lord, Yu Tai Shun, returns from the hills he will say----
+
+_Wong Fe_
+
+Oh, what will he say?
+
+_So Siu_
+
+That the fairies have been your friends. They wove for you this robe of
+rose-leaves, and threw over you a gray cloud from the Witch's Mountain.
+
+    (WONG FE _trips gaily, then with sudden surrender begins to weep._)
+
+_So Siu_
+
+Have no shame, beloved of miserable So Siu. Water must follow the fire.
+I am only a maid, but I know that when the honeymoon is without tears
+two pigs have married. Ah, wet my sleeve, my dear one, and not thine
+that will lie on the neck of the golden lord, Yu Tai Shun.
+
+_Wong Fe_
+
+When I awoke this morning the sunlight was on my pillow, but Yu Tai Shun
+was gone. All day I have not seen his face. And now the last swallow has
+left the sky.
+
+_So Siu_
+
+Why did Prince Ching and the young Japanese choose this day to be guests
+of Yu Tai Shun? It is sad for the wife when the friends of her lord find
+her alone. Yu Tai Shun will beat his doorstep for not calling him.
+
+_Wong Fe_
+
+He will! Prince Ching is almost his father. May his age climb as the
+hills, always nearer the sky!
+
+_So Siu_
+
+Indeed, you would be sitting alone in a cloud of sighs, not fast wedded
+to the bringer of dawn, Yu Tai Shun, if Prince Ching had not won his way
+to your brothers, the mighty princes, Wong Li and Wong Sen.
+
+_Wong Fe_
+
+I kiss his honorable dust! He shall live with my ancestors! And Makuro,
+the young Japanese, I shall love him too, for he is most dear to Yu Tai
+Shun. Do they still sit in the orchard?
+
+_So Siu_
+
+They have not moved, nor paused in their talking. Do you not hear? Like
+bees that cannot choose their flower. It may be that they have brought
+news to Yu Tai Shun, and his gloom will pass.
+
+_Wong Fe_
+
+No, I feel it was their coming, like a far cloud, that shadowed him. Oh,
+my So Siu, it will be darker now!
+
+_So Siu_
+
+I have sent tea and cakes to the orchard.
+
+_Wong Fe_
+
+It shall not be dark. Do not the fairies of the sun weave a white world
+out of the threads of midnight? I will pray to them. We must be merry,
+my lily So Siu.
+
+_So Siu_
+
+And why not?
+
+_Wong Fe_
+
+I shall dance to-night before Yu Tai Shun. (_Tripping._) Is it not good
+to have feet? My honorable and glorious mamma weeps when I dance, but it
+is because she was born too soon and they crippled her beloved feet.
+
+_So Siu_
+
+How glad I am that the old world is gone when only the painted
+flower-girls could do the happy things!
+
+_Wong Fe_
+
+And it was my own lord, Yu Tai Shun, who made the earth new again!
+
+    (_She listens, suddenly still._)
+
+_So Siu_
+
+He is here!
+
+_Wong Fe_
+
+My darling So Siu....
+
+_So Siu_
+
+I go! (_Darts from room, right._)
+
+_Wong Fe_
+
+I would be dancing, but I cannot move. There are anchors of fear on my
+toes.
+
+    (_Enter_ YU TAI SHUN, _left. He is dressed in gray flannels, of
+    American pattern._)
+
+_Shun_ (_stopping before_ WONG FE)
+
+I left a witch-cloud on the hills, and it has dropped down before me.
+
+    (_She courtesies to the floor. He snatches her up._)
+
+_Shun_
+
+No! I want my Western bride to-night.
+
+_Wong Fe_
+
+But this is a Chinese orchard, and it is springtime. Let me worship a
+little.
+
+_Shun_
+
+Never, my mountain bird!
+
+    (_Draws her to the steps, where they sit._)
+
+_Wong Fe_
+
+You are weary, beloved?
+
+_Shun_
+
+Not now. I have my rest. To-morrow you shall go with me.
+
+_Wong Fe_
+
+Up the mountain?
+
+_Shun_
+
+I will show you where I dropped the storm in my heart.
+
+_Wong Fe_ (_timidly_)
+
+Will it come again, Yu Tai Shun?
+
+_Shun_
+
+Nothing can wake it again.
+
+_Wong Fe_
+
+Then indeed I am your bride!
+
+_Shun_
+
+Heart of my body art thou, Wong Fe!
+
+    (_Holds her to his breast a moment, looking distantly out. Suddenly
+    sees his friends approaching._)
+
+_Shun_
+
+We have guests?
+
+_Wong Fe_ (_quickly springing up_)
+
+Forgive me! Your friends are here. Prince Ching, and Makuro, from Japan.
+
+_Shun_
+
+Makuro?
+
+    (_He throws up his right hand. In a moment_ PRINCE CHING _and_
+    Makuro _are seen advancing from the orchard_.)
+
+_Wong Fe_
+
+They have had my welcome. I leave you. (_Crosses to right, reluctantly._)
+
+_Shun_
+
+Return to us soon, my gold of the morning.
+
+    (_She goes out_. CHING _and the Japanese enter._)
+
+_Ching_
+
+We have waited, Yu Tai Shun. We knew that the setting sun would turn a
+bridegroom home.
+
+_Makuro_
+
+Master!
+
+_Shun_
+
+My friend! What brings you to China?
+
+_Makuro_ (_with steady gaze_)
+
+You know. I have come for you.
+
+_Shun_ (_stubbornly, as if chidden_)
+
+My work is done. China is free.
+
+_Ching_
+
+Her slavery is only beginning. You may hide your body but you cannot
+bury your mind under peach-blossoms.
+
+_Shun_
+
+The republic is established.
+
+_Ching_
+
+But not a democracy.
+
+_Shun_
+
+My work is done. Twenty years have I given to the cause of the people.
+Now until I die I will toil and sing in the fields of my fathers.
+
+    (_They have gradually come to centre of room, which servants have
+    lighted_. WONG FE _silently returns, but at a sign from_ CHING
+    _she retreats and remains by wall, right, participating in the
+    scene that follows, though_ YU TAI SHUN _and_ MAKURO _are unaware
+    of her presence._)
+
+_Makuro_
+
+Do you remember when I stood here once before, Yu Tai Shun?
+
+_Shun_
+
+Can you ask me that, Makuro?
+
+_Makuro_
+
+Why not, when you seem to have forgotten all that passed between us? I
+went from that meeting with an imperishable fire in my heart. I return,
+and the light that kindled mine is dark. We stood here, and the words
+you spoke were brighter than the lamps of Siangtan that we looked down
+upon. Shall I repeat them, Yu Tai Shun?
+
+    (_Shun is silent._)
+
+_Ching_
+
+I would hear them, Makuro.
+
+_Makuro_
+
+The master said: "Forty centuries has China been content to plough, to
+sow, to reap, and with her harvest support one-quarter of the human lives
+on our planet. Drudgery has been her lot, frugality her virtue. Only so
+had she lease of breath. Now she is to unlock her mines, build ships,
+and roads of commerce, and with the magic of machinery set her people
+free. If that magic is owned by a few, there will be no freedom, but
+a slavery whose agony no man can tell. Every owner will be a monarch
+greater than the Son of Heaven to whom we bowed. We cannot shut them out
+by war. We can do it solely by making China a true democracy where the
+people themselves own the magic tools and the great ways to the markets.
+To do this is the work of all who love Freedom, and I know no other
+goddess." Were these your words, Yu Tai Shun?
+
+_Shun_
+
+Yes ... my words.
+
+_Makuro_
+
+That was five years ago. From all parts of the earth come powers
+fulfilling your fear. Leagued with our own purblind princes and dwellers
+in the dusk, they hover over China, waiting for war and bribery to
+dismember her. And you say your work is done. Yu Tai Shun, where have
+you buried my master?
+
+_Ching_
+
+In the heart of the Princess Wong Fe.
+
+_Shun_ (_rallying_)
+
+May we not be too stern in our judgment of the lords of steam and iron?
+Lei Kung Sang and the British minister of the So-nan mineral beds have
+built houses for the people.
+
+_Ching_
+
+And have taken their land. Men who plucked their own fruit, and took
+food from their own gardens, now cannot eat until they have torn new
+treasure out of the earth for the kind Briton and the good Lei Kung
+Sang.
+
+_Shun_
+
+Their days of work were always long and weary.
+
+_Ching_
+
+But they toiled as free men in the sun, and as free men sang from the
+river-boats when the moon rose. In America, where there is still much
+land and few people, there are places where children go down into the
+mines and never see the sun except on the day they call "holy." How will
+it be with China's four hundred millions, when there are not even waste
+places where those who would flee may gather? For even her great
+untilled spaces are being covered by the foreign hand.
+
+_Makuro_
+
+Slavery will be born again with depths the ancients never knew.
+
+_Shun_
+
+But the spirit of brotherhood is growing.
+
+_Makuro_
+
+Power has no brothers! It was you who taught me that, Yu Tai Shun.
+
+_Shun_
+
+Do you forget that we built our republic with the aid of these same
+princes of power?
+
+_Ching_
+
+We forget nothing. They let us beat down the throne because they could
+not use it--a rigid tradition--but the republic--_they_ are the
+republic!
+
+_Shun_
+
+Can we not trust a little? In our greatest need, alien hands have
+reached out to help us. And we have true hearts among our Chinese
+lords. Not all have joined with the invader to herd the people into
+slave-yards. Pei Chen-Ping and Sa Yi are most liberal. You, Prince
+Ching, and those you gather to you, have hearts like the rising sun. And
+the noble princes of the house of Wong--have they not given me my bride?
+
+_Ching_
+
+Ay, when your sighs had blown around the world for seven years, they
+yielded her. You were a power to be checked, and they set a woman in
+your path.
+
+_Shun_
+
+No!
+
+_Ching_
+
+It was a Japanese from the Fushun collieries, a Russian prince of the
+Northern railways, a French buyer of Yunnan copper, a British ship-baron
+of Hongkong, and the Chinese owners of the unworked gold veins of
+Szechuan, who went to the brothers of Wong Fe and said: "Give Yu Tai
+Shun his bride."
+
+_Shun_
+
+It was you who spoke for me!
+
+_Ching_
+
+You had no father, and in my heart you were my son. I spoke for you
+because I believed in you. I did not think that any bribe could lure you
+from us. Yours was a soul that we thought would be a torch to every
+nation of earth. And you choose to go out like a candle in the breath of
+a woman.
+
+    (YU TAI SHUN _is bowed and silent._ MAKURO _touches his sleeve._)
+
+_Makuro_
+
+Come with us, master.
+
+_Ching_
+
+In half an hour the boat will stop at the orchard pier for Makuro. He
+starts for Japan. It is there you are needed.
+
+_Makuro_
+
+I come from our friends with their summons. Japan's oligarchy of
+traders, with every means known to power--school, religion, racial pride
+and hate--is fostering the spirit of war. All the seeds of the jungle
+are being deliberately sown once more in men's hearts. They are
+preparing Japan to hold the largest share of an industrially broken
+China and weld her millions into one instrument of hate against the
+West.
+
+_Shun_
+
+A pigmy's dream!
+
+_Ching_
+
+A dream that will come true if our giants continue to sleep.
+
+_Makuro_
+
+It is the menace of America that Japan holds before her people till
+their hearts roll with fear, their brains grow sick with rage. America,
+who has insulted us with exclusion--who has snatched an island chain
+from our Eastern waters, and shot, starved, imprisoned thousands
+ignorant enough and brave enough to resist her. _That_ is the America my
+people are taught to believe in. But you know a different America, where
+people love honor and hate war--whose religion is love thy neighbor as
+thyself. Come, teach them of that America! You are known in a million
+homes of Japan. You have taught us to love you, and where we love, we
+listen.
+
+_Shun_ (_with great effort_)
+
+I cannot go. If I part from Wong Fe the blood will leave my veins and
+flow back to her.
+
+_Makuro_
+
+Then take her with you.
+
+_Shun_
+
+You know what this journey means.
+
+_Ching_
+
+Yes, you must go free. With such a weight you would be useless. I will
+take Wong Fe to her brothers.
+
+_Shun_
+
+I shall hold her forever!
+
+_Ching_
+
+You think joy can last so long? (_To_ MAKURO, _shrugging._) A boy yet!
+
+_Shun_
+
+In Japan you have my young scholar, Onoto. All my knowledge I have given
+him. In his heart is my purpose, his eyes hold my vision.
+
+_Makuro_
+
+Onoto!
+
+_Shun_
+
+His years are younger, his flame will leap higher. I am only one who
+fails you. In every nation our numbers are growing. Do not fear for
+humanity. Our brothers are everywhere.
+
+_Makuro_
+
+You say Onoto?
+
+_Shun_
+
+He has the gift of the shining word--the word that draws the heart as a
+full moon at sea draws the eye. I can turn my back on the world and rob
+it of nothing, for I have given it Onoto.
+
+_Ching_
+
+How long have you been chirping here like a cricket under a leaf, with
+no news from the roadside?
+
+_Shun_
+
+It is three weeks to-day since I brought Wong Fe to the door of my
+fathers.
+
+_Ching_
+
+Three weeks! On the very day of your joy Onoto was thrown into prison.
+
+_Shun_
+
+They would not dare!
+
+_Makuro_
+
+They did dare.
+
+_Shun_
+
+In prison--Onoto!
+
+_Makuro_
+
+No, he is not now in prison.
+
+_Shun_
+
+Free?
+
+_Makuro_
+
+The enmity of the powers was bitter. Everywhere he was sowing the seed
+of peace. In many a house the ancestral sword was broken at his bidding.
+
+_Shun_
+
+But he is free?
+
+_Makuro_
+
+Yesterday (_glances out at the stars_), at this hour, he was shot.
+
+_Shun_ (_slowly comprehending_)
+
+Then I have been twenty-four hours dead.
+
+    (_He steps uncertainly out to the little porch. They gaze at the
+    floor, respecting his grief_. WONG FE _makes a motion to follow
+    him._ CHING _stops her with a gesture, and she shrinks back._ YU
+    TAI SHUN _re-enters._)
+
+_Shun_
+
+Your mercy, friends. (_Crosses left, to exit._)
+
+_Ching_
+
+You will go with us now?
+
+_Shun_ (_turns and hurls the word_)
+
+No!
+
+    (_An instant of silence follows his exit, then_ WONG FE _comes
+    forward._)
+
+_Wong Fe_
+
+Peace to your hearts, honorable friends of Yu Tai Shun! He will depart
+with you.
+
+_Ching_
+
+Not yet. We must wait. Invisible chains cannot be broken. But they will
+disunite of themselves. Then he will come.
+
+_Wong Fe_
+
+I will send him with you to-night.
+
+_Ching_
+
+_You_ send him?
+
+_Wong Fe_
+
+Do you think I will divide his life so that the two halves can bear no
+fruit? That I will wait until he hates me for that ruin?
+
+_Ching_ (_with laughter_)
+
+Hates you, oh princess!
+
+_Wong Fe_
+
+Wait till I must glean in his heart behind a spent passion?--like a poor
+widow in the track of a grain-cart?
+
+_Ching_
+
+The coral of your lips will defeat their command, Wong Fe. Near you he
+is a dry fagot seized by a flame.
+
+_Wong Fe_
+
+I tell you he will go! Wait in the orchard until you hear the first
+whistle of the boat. Then come for him. He will be ready. Go, honorable
+friends! He is returning.
+
+_Ching_
+
+It is useless. Your words may bite like winter, but his eyes will see
+only the Spring morning.
+
+_Wong Fe_
+
+Go, I beg you, go!
+
+    (_They pass out down the steps of porch._ WONG FE _hurries to a small
+    table, opens a lacquered box and takes from it a stiletto, which she
+    hides in the folds of her sleeve. She is dancing as_ YU TAI SHUN
+    _enters, and sings as she dances._)
+
+  The thousand odors of Spring
+  Are the thousand arms of love.
+  They find thee in the valleys,
+  On the crest of the hills they reach thee;
+  Till Spring bear no fragrance
+  Thou canst not escape them,
+  The thousand arms of love!
+
+  The orchard pool is a pillow,
+  A pillow for the twin lotus,
+  And the wings of the flying geese
+  Are warm in the air of heaven;
+  They drop to the shadowy lake-sedge,
+  For sweet looks the earth from the roads of the sky,
+  And in heaven are no cool grasses.
+
+  Ever listening
+  Are the leaves of the slim dryanda,
+  Whose heart is the harp of the Spring-wind.
+  A dryanda-tree is my lover,
+  And my thoughts are the leaves that listen.
+  Autumn, Autumn, touch not my leaf-thoughts!
+  Cast them not down when the pool is grey,
+  And the teal no more sail two and two
+  With their breasts above one shadow.
+
+
+_Shun_
+
+Come to me, Wong Fe! I feel that you have blown through my door like
+a rose petal, and will drift away again, leaving me not a footprint
+to kiss.
+
+_Wong Fe_
+
+Neither in life nor in death shall I leave you, my lord. Though I seem
+to die, and these graces that please you fall to earth like
+willow-blossoms, it is not I that will lie on the sand.
+
+_Shun_
+
+Why do you speak of death, Wong Fe?
+
+_Wong Fe_
+
+Because I am so happy. The sages say that we can have no fairer fortune
+than to die in our happiest moment.
+
+_Shun_
+
+Do not speak of death. The word blisters the air, though your lips be as
+two drops of June rain.
+
+_Wong Fe_
+
+But how sweet to die when I am fairest in your eyes! Every year, at this
+time, you would walk down the peach-flower lanes and recall the glow of
+my cheek. Oh, Heaven, let me not be a faded wife in the blooming time of
+the year!
+
+_Shun_
+
+Thy soul, Wong Fe, is the flower of my worship.
+
+_Wong Fe_
+
+And death would give my soul wholly to you. I should be near you always.
+Then morning would not call you to the peaks, leaving me behind in the
+tear-dew.
+
+_Shun_
+
+To-morrow we shall go together. Your shadow will be with mine on the
+rocks, and under the fir-trees we shall forget the valley.
+
+_Wong Fe_
+
+And the world? Oh, my lord, there are distances farther than the peaks
+of Siang, and they will call you from me. It cannot be that you who have
+known all lands will be content with one. I would see the strange people
+you have made your brothers, would listen to their dreams, and read the
+future with their hearts. There are dangers you would not let my body
+share--I do not ask that--but my soul, you could forbid it nothing.
+
+_Shun_
+
+What have you heard? What has Makuro said to you?
+
+_Wong Fe_
+
+What should he say but that the cakes were good, and the tea had the
+flavor of the fields of Hunan?
+
+_Shun_
+
+We must join our friends. Where do they wait?
+
+_Wong Fe_
+
+They listen for the boat that will stop at the foot of the orchard. Why
+do they go? Old friends should not be so brief in greeting. Could they
+not stay one night?
+
+_Shun_
+
+No--no. (_Sits down_.) They must go.
+
+_Wong Fe_ (_laying her hand on his shoulder_)
+
+What voice dost thou hear, and wilt not answer?
+
+_Shun_
+
+Nothing--nothing.
+
+_Wong Fe_
+
+You will not long be deaf between the beating of our two hearts. You
+will hear and go. That is why I long for the death-fairy to come in my
+hour of happiness. You have joined with strong men to lift a heavy yoke
+from the world. My smiles cannot feed your spirit. Go with your friends.
+Let the whistle of the boat part us.
+
+_Shun_
+
+The cassia-tree may draw itself from earth, and walk on feet of roots
+through the world, but I cannot divide my days from yours, for you are
+myself, Wong Fe.
+
+_Wong Fe_ (_resigned_)
+
+I believe you, my lord. We shall not part. But what joy it would be to
+die now in your presence, while the love-cup is full! Oh, I could not
+meet death alone! You know the poor ghost in the song who died in the
+absence of her lover? She is always pleading to be allowed to die again
+when his arms may be around her. So would my ghost go wailing if I lost
+your kiss in death. (_Touches his cheek_.) Is that a tear, Yu Tai Shun?
+I torture you because I am so happy! You shall laugh, my prince! I know
+a new game we shall play. Little So Siu taught it to me to-day. She says
+it is an American game. We call it "Guess behind you!" You turn your
+back--like that--and you must tell me what I am doing. When you miss
+three times, then I shall tell you what you must pay. Now--what is it
+I do?
+
+_Shun_
+
+You throw me a kiss.
+
+_Wong Fe_
+
+So I do! And now, my soul's light?
+
+    (_Takes stiletto from her sleeve. The whistle of the boat is heard.
+    He turns. She hides stiletto._)
+
+_Shun_
+
+Our friends are going.
+
+_Wong Fe_
+
+But wait--there is time. You must guess once more! Oh, you are slow as
+ten turns of a river! There!
+
+    (_Turns his head with her hands, then snatches the stiletto, stabs
+    herself and falls. He turns, kneels dazedly, and takes her in his arms
+    as she dies._ CHING _and_ MAKURO _enter._)
+
+_Ching_
+
+The boat-- (_Stops in consternation._)
+
+_Makuro_ (_softly_)
+
+Master, I did not ask this price.
+
+_Shun_ (_rising_)
+
+It is paid.
+
+(CURTAIN)
+
+
+
+
+
+
+EVERYCHILD
+
+A PLAY OR PAGEANT
+
+BY
+
+FREDERICK PETERSON
+
+AND
+
+OLIVE TILFORD DARGAN
+
+
+
+
+DRAMATIS PERSONÆ
+
+_Scene I. The Garden of Joy_
+
+    Cho-Cho The Clown Everychild Mother, Father, and dancing children
+
+_Scene II. Sweat-shop_
+
+    Father, Mother, three children, Everychild
+
+_Scene III. The Farmstead_
+
+    Jim the Father, Mary the Mother, Billie, Tom, and Rosie, their
+    children. Cho-Cho and Everychild
+
+_Scene IV. The Coal-mine_
+
+    Joe, Jack, Bert--three old miners and two boys
+
+_Final Scene. Same as first scene_
+
+    Cho-Cho, Everychild, Mother, Father. Old group of children and new
+    group with Everychild
+
+
+
+
+PROLOGUE
+
+BY CHO-CHO
+
+
+    Good people!
+  This is the Play of Everychild
+  With Cho-Cho
+  As Author and Manager.
+  The play has defects--
+  It has good points--
+  And bad points--
+  Like the world itself--
+  Like life!
+  Perhaps the author of the world
+  Is something like me,
+  A little grotesque,
+  A little whimsical,
+  Serious often,
+  Sometimes all the more serious
+  Seen through a Fool's words
+  With cap and jingle of bells.
+  In this droll world
+  There are lots of children
+  Who are the children of fools--
+  Like me.
+  Good people!
+  I bespeak your patience
+  With Everychild
+  Daughter of a Clown.
+
+
+    SCENE I: _Stage dark as curtain rises. Moderate starlight and quiet
+    music of cradle-song type. Little fairies come out dancing in the
+    darkness with firefly lamps and sing the following cradle song:_
+
+
+  Some one is sleeping
+    Out in the dark
+  Where fireflies glimmer
+    Spark upon spark.
+
+  Some little stranger
+    Come from afar
+  Under the glory
+    Of moon and of star.
+
+  Deep in the blossoms
+    That drift as they fall
+  Some one is sleeping
+    And stirs not at all.
+
+  Sleep, little stranger!
+    The night is near gone;
+  Sleep, little stranger,
+    But dream of the dawn!
+
+
+    _The dim light reveals a dark figure lying on the mosses at the foot
+    of an old tree. As the light grows gradually stronger the dark object
+    begins to move, to slowly take off one after another of black
+    coverings, revealing a little girl of nine or ten years, dressed in
+    white. She rubs her eyes, looks about wonderingly, and slowly rises
+    to a standing position. Meanwhile the earth grows more luminous and
+    roseate. The birds have begun to twitter now and then before the dawn,
+    and their notes increase in number and variety with the approach of
+    morning. The growing light reveals an orchard of old apple-trees near
+    at hand in full bloom, with petals falling, and hills and mountains
+    lifting and towering upward higher and higher into the blue distance.
+    A path leads from the orchard up the near hills and toward the
+    heights. The music has grown louder, and is sweet and tender,
+    interspersed with bird notes. A number of children, girls and boys,
+    come out and sing and dance under the blossoms of the apple-trees.
+    They sing the children's song:_
+
+
+  We are of the sunrise
+    Flower-breath and dew,
+  Travelling wider circles
+    Of blue beyond the blue,
+
+  Seeking strength of spirit,
+    Happiness and joy--
+  Heritage decreed for
+    Every girl and boy.
+
+  Music of the moonbeams
+    And the orchard rain,
+  Music of the meadows
+    Waving with the grain,
+
+  Mountains in the sunlight,
+    Colors of the flowers,
+  Trailing cloud and shadow--
+    All of these are ours.
+
+  We are of the sunrise
+    Flower-breath and dew,
+  Travelling wider circles
+    Of blue beyond the blue.
+
+
+
+    _The little girl in the foreground looks with wonder and delight
+    at the entrancing spectacle. She has her side to the audience.
+    She raises her arms, listens, rubs her eyes, smiles with joy. She
+    touches the grass, the flowers, the trees, picks up and smells the
+    falling apple-blossoms. She begins to dance like the other children.
+    One of them sees her and runs toward her with arms outstretched.
+    The newcomer touches her hair and her hands. They smile at each
+    other. The little girl leads the stranger toward the others and has
+    her join in the dance. The dancing is in the Greek manner. They play
+    with a light, large, bubble-like balloon._
+
+
+_Little Girl_
+
+What is your name?
+
+_Stranger_
+
+I do not understand.
+
+_Little Girl_
+
+Oh, of course, I forgot. I will lead you to some one who will give you a
+name.
+
+    (_A man and woman have come slowly through the orchard and seated
+    themselves on a bench under an apple-tree. Two or three of the
+    children lead the stranger up to them._)
+
+_Stranger_ (_feeling of the hair and gown of the woman_)
+
+Who are you?
+
+_Woman_ (_smiling_)
+
+I am your mother.
+
+_Stranger_ (_feeling of the hair and face and garments of the man_)
+
+Who are you?
+
+_Man_
+
+I am your father.
+
+_Stranger_
+
+What place is this? They told me somewhere--but I have forgotten--that I
+should die _there_ which is being born _here_ and come to the earth.
+
+_Mother_
+
+Yes, this is our world, and I shall give you a name. I shall name you
+Everychild.
+
+_Everychild_
+
+Is it always and everywhere so beautiful?
+
+_Mother_
+
+No, but it should be so, and some day it will be so.
+
+_Father_
+
+It is a dream we have.
+
+_Mother_
+
+It will be even more beautiful than this, for we shall go higher, and
+climb those Morning Mountains. The flowers of the Spirit grow there.
+
+_Everychild_
+
+And we shall gather them?
+
+_Father_
+
+Yes, Everychild. Come now, and bring all the others with you. We will
+take that path yonder to the hills.
+
+_Mother_
+
+No, wait! They are not all here. There are some missing. They must all
+come.
+
+_Father_
+
+It will be so long to wait. Let us go with these.
+
+_Mother_ (_laying her hand on_ EVERYCHILD'S _head_)
+
+Have we not named her Everychild?
+
+_Father_
+
+Yes. She must go down and find all who have lost their way. Perhaps some
+have awakened in the wrong place and are wandering about in the dark
+jungle of the world. We will wait here till they come.
+
+_Mother_
+
+Go, Everychild. Find them and bring them all back with you. Take this
+lamp. (_Hands her a rose-colored lamp, etc._)
+
+_Father_
+
+Our lamp?
+
+_Mother_
+
+Our love!
+
+_Father_
+
+Take it, Everychild. With this lamp you can find the lost children and
+bring them all back with you.
+
+_Mother_
+
+We will wait for them no matter how long.
+
+    (EVERYCHILD _starts down along a path leading off the stage to
+    the right--the music and singing continue through the whole scene._
+    CHO-CHO _appears, right, for a moment and points her path to her
+    saying: "This way, Everychild."_)
+
+(CURTAIN FALLS)
+
+CURTAIN _rises revealing_
+
+
+    SCENE II: _A squalid room in a city tenement, a miserable stove,
+    a bedraggled bed. Right, a table at which a poorly dressed man and
+    woman are working fast and feverishly. Three children of about four,
+    eight, and ten years sit on a bench, left, sewing as fast as they
+    can, looking tired, depressed, weary. It is evening, the room poorly
+    lit. Noises from the street, street calls, rumbling of vehicles, honk
+    of autos, etc., etc._
+
+
+_The Younger Child_
+
+Ma, can I go to bed? I am so tired and hungry.
+
+_Mother_
+
+It ain't ten yet. It will be only a few minutes more. The boss is coming
+early in the morning and we must have the work ready. Now you be still
+and keep working. You don't know what a good home you got. Ain't she got
+a good home, John?
+
+_Father_
+
+You bet she got a good home, and if you all work now we get the good
+coffee and bread in the morning and perhaps in a couple a weeks we all
+go to the movies.
+
+_Oldest Child_
+
+Gee, I like to see that fairy play what we see once.
+
+    (_Bell strikes ten._)
+
+_Mother_
+
+Now, go right to bed, children. It is ten o'clock.
+
+    (_Takes light and goes with husband into room right. Children undress
+    and scramble into one bed._)
+
+    (_Street noises all discontinue, back of room opens out on to the
+    orchard and the music of first scene is heard with dancing children._
+    EVERYCHILD _comes into the room with her rosy lamp. The three children
+    sit up in bed and rub their eyes._ EVERYCHILD _glides all about the
+    room and looks at the squalid place in dismay, then goes up and smiles
+    at the children._)
+
+_Everychild_
+
+You are some of the lost children. How did you get in here? Come with
+me. I will give you some better clothes and you can dance and sing with
+all of them.
+
+    (_They get out of bed and she leads them in wonder and joy out into
+    the orchard._)
+
+(CURTAIN FALLS)
+
+
+    SCENE III: _Plain interior of a farmer's kitchen with farmer's
+    wife busy over stove, and kitchen table set for lunch for two. Adjacent
+    room, left, small bedroom in which lies a pallid thin child in bed with
+    dishes and bottles on little bedside table. Very little light. Curtains
+    to a single window down. Farmer in overalls comes in, looking hot and
+    tired. He throws hat on chair, says "Hullo, Mary, dinner ready?" and
+    proceeds to wash hands and face in a basin on a stool. Then sits down
+    at the table._
+
+
+_Mary_ (_bringing food from stove and sitting down opposite_)
+
+Here we are, Jim. Guess you're ready for something. It takes a man to
+sprout a patch o' locusts, and you had breakfast by lamplight.
+
+_Jim_
+
+Some o' them roots seemed as long as from here to the barn.
+
+_Mary_
+
+But you'll have the best pasture in the county next year.
+
+_Jim_
+
+What's the good? We rationed our beef steers the way that government
+chap taught us, and our pigs, and our sheep, and who got the profit?
+
+_Mary_
+
+A lot more documents came from the government to-day--all about _pigs_.
+And we haven't got a decent house to live in! If we could only build on
+that pretty bit of high ground I've had picked out for three years,
+Rosie would quit havin' these sick spells.
+
+_Jim_
+
+How is she, mother?
+
+_Mary_
+
+I b'lieve she's a little better. Jim, have you got any money left from
+sellin' the car?
+
+_Jim_
+
+You know we had to pay the interest at the bank first of all, and the
+rest went for fertilizer.
+
+_Mary_
+
+I miss the car more on Rosie's account than mine. She's been cryin'
+for a ride this morning. I didn't know what to say. And I had to promise
+her she could go to the picnic if she got well. That'll mean a pretty
+dress, and hat and shoes.
+
+_Jim_
+
+I don't know where you'll get 'em then.
+
+_Mary_
+
+Looks like we ought to be able to give our children a little pleasure.
+There's poor Billie and Tom don't more'n get home from school an' lay
+their books down till they have to go to hoein' and pullin' weeds. I
+don't blame Billie a bit for runnin' away and goin' fishin' last
+Saturday.
+
+_Jim_
+
+I don't either, though I had to whip him for it. I can't do without his
+work and get through.
+
+_Mary_
+
+Get through? When did we ever get through anyhow? Look at this, Jim.
+(_Picks up paper and points to paragraph._) Beef steers sold to-day in
+Chicago at nine cents a pound. It cost us fourteen cents to raise ours,
+and we're countin' on makin' things easier by raisin' more next year.
+And see here, it says _beef_ went _up_ in the Eastern market four cents.
+
+_Jim_
+
+Steers down, beef up! Robbin' both ways.
+
+    (_Enter_ BILLIE _and_ TOM _with schoolbooks, which they throw down,
+    shouting: "We got a half-holiday!"_)
+
+_Billie_
+
+The big boys are goin' to play ball. Dad, can't we go watch 'em?
+(MARY _and_ JIM _look at each other._)
+
+We ain't seen a ball game this year, and we want to learn to play.
+They're makin' a little boys' team at school.
+
+_Mary_
+
+Daddy's workin' awfully hard to-day. He needs you bad to pile brush for
+him.
+
+_Jim_
+
+You can't go to-day, boys. Next time----
+
+_Billie_ (_hopeless_)
+
+Oh, next time! It's always next time.
+
+_Mary_
+
+Wash up now, and you can have a hot dinner.
+
+    (_They wash listlessly._)
+
+_Jim_
+
+Mary, I think you'd better telephone for the doctor to come and have a
+look at Rosie.
+
+_Mary_ (_hesitating_)
+
+I did--this morning. He said he didn't have time to come out to-day.
+
+_Jim_
+
+Dr. Lowden?
+
+_Mary_
+
+Guess he's tired o' comin' for nothing. You can't blame him.
+
+    (JIM _hangs his head. A knock at the door._ JIM _rises and opens it._
+    CHO-CHO _enters giggling and grimacing while the farmer and his wife
+    are speechless with amazement._)
+
+_Cho-Cho_
+
+You sent for a doctor?
+
+_Jim_
+
+Yes--but--you--ain't--no doctor.
+
+_Cho-Cho_
+
+No, I--ain't--no--doctor (_mimicking_), but my daughter is a doctor and
+here she is now.
+
+    (_Enter_ EVERYCHILD _disguised as a doctor, with a long black cape
+    hiding her white dress, a pair of goggles over her eyes, a long white
+    beard, a white wig, a man's hat on, a little black bag in her hands._)
+
+_Jim_ (_tearing his hair distractedly_)
+
+You say that little old man is your daughter and a doctor?
+
+_Cho-Cho_
+
+That's right--but a new kind of doctor. This is a Health doctor, not a
+Disease doctor. Present treatment for Health--absent treatment for
+absence of Health. (_Ha--ha--hee--hee!_) I'll leave the doctor here.
+(_Goes out._)
+
+_Everychild_
+
+Well, well, where is the patient? (_Putting hat on chair._)
+
+_Jim_
+
+I must be crazy, but I never seen a doctor like you. You ain't no
+doctor.
+
+_Everychild_
+
+Oh, yes I am. I'm a children's specialist. Is she in that room? (_Goes
+to door and opens it_--_draws back a little._) Whew! No air. Lift up
+that curtain and open the window! (JIM _does it, rather aghast._) You
+must show me where you keep your pigs. Don't they get light and air on a
+day like this? (_Goes toward bed as_ ROSIE _rises up in bed and stares
+with a smile at the little doctor_.) So this is the little patient.
+Well! Well! (_Lifts up and looks at the bottles._) Take these and throw
+them out. (_Hands them to_ MARY, _who takes them out and returns._) My!
+My! Pork and potatoes and candy! Of all things! I'll have to make out a
+diet list later. (_Feels pulse--listens to her chest._) I think the
+trouble with you is bad food, bad air, and no light. The trouble is not
+enough agricultural pamphlets on human live stock, not enough government
+millions spent on the real thing. Now get up, Rose! Let me see you
+stand. There, that's good. Now a comb and brush--we'll help this hair
+a little.
+
+_Mary_ (_handing_ EVERYCHILD _a comb and brush_)
+
+My hands are so full of work----
+
+_Everychild_ (_arranging_ ROSIE'S _hair_)
+
+Yes, that's better. Now, father, a glass of milk! (JIM _goes
+into kitchen._) And mother, open that bag, please.
+
+    (_While_ MARY _opens bag._ JIM _returns with glass of milk, which_
+    ROSIE _drinks._)
+
+_Mary_
+
+Oh, my!
+
+    (_Takes out pretty dress, stockings and slippers, which she lifts up,
+    looks at delightedly, and carries to the doctor._)
+
+_Rosie_
+
+Oh, mother! You did get them!
+
+    (EVERYCHILD _works fast, slips the gown on the patient with the
+    stockings and slippers, while_ ROSIE _smiles happily, though
+    dazed by the splendor of it._)
+
+_Rosie_
+
+Are you going to take me to the picnic?
+
+_Everychild_
+
+Indeed I am! A picnic that will never be over!
+
+_Rosie_
+
+Are we going to ride? Have we got our car back?
+
+_Everychild_
+
+Better than that.
+
+_Rosie_
+
+What is it?
+
+_Everychild_
+
+You'll see. Maybe you'll dance out of the window.
+
+_Mary_
+
+Are you going to take her away?
+
+_Everychild_
+
+Yes, I shall keep her with me until she is well. Then she will return to
+you.
+
+    (_Takes out of the bag the rosy lamp and waves it. Throws aside her
+    cap and pulls off goggles, wig, and beard. The back wall moves away,
+    revealing the first scene with the same strains of music and the
+    dancing children in the orchard._ EVERYCHILD _leads_ ROSIE _out to
+    join them._ BILLIE _and_ TOM _move after them calling: "Let us go
+    with you! Take us with you!"_)
+
+_Rosie_
+
+Oh, please take Billie and Tom!
+
+_Everychild_
+
+Yes, I want them, too. Come along, boys!
+
+    (_They shout and run after_ ROSIE _and_ EVERYCHILD.)
+
+_Mary_
+
+Oh, Jim, is this a dream? Or am I awake at last?
+
+_Jim_ (_putting his hand to his head, dazedly_)
+
+Perhaps this is what it ought to be for all the children of the world.
+
+(CURTAIN FALLS)
+
+
+    SCENE IV: _Interior of a coal-mine, lit only by lamps on the
+    heads of three men and two boys, about twelve and fourteen years, the
+    men busy at work getting the coal down with picks, the boys shovelling
+    coal into a car. They work a few minutes. Distant muffled sound of a
+    steam-whistle. They immediately drop tools and go to corner and pick
+    up each a can, paper bag, or small basket, and sit down to eat._
+
+
+_One Man_
+
+Lunch-time. It feels good to rest half an hour in this bloomin' hole.
+(_Takes a drink from a bottle he brings from his pocket and hands to
+another._) Have a swig, Jack?
+
+_Jack_
+
+Don't care if I do. (_Takes a swallow._) I'll bring some next time, Joe.
+
+_Joe_ (_passing bottle to the other_)
+
+Here, Bert, it helps. Take some and give a swallow to the boys.
+
+_Bert_
+
+I'll take some and thank you, but I guess the boys are better off
+without it.
+
+_Jack_
+
+How long you worked here, Bert?
+
+_Bert_
+
+Nigh on fifteen years, and a devil's job it is. I wanted to be a sailor,
+but I got into this, and it paid pretty good, and then I got tangled up
+with a family and just stayed on the job. But it's no place to spend a
+life. (_Coughs._)
+
+_Joe_
+
+I been here 'bout as long as you, Bert. I ran away from the big woods
+where my father was a lumberman. Thought I'd see the world, and just got
+stuck here and never could make up my mind to get away. See the world,
+eh! All I ever seed was de inside of it. If I had my way to do over
+again, I think I'd take to the tall timber up dere on top.
+
+    (_Meantime the two boys, while eating with one hand out of their cans,
+    have been whispering and playing knuckle-bones with pieces of coal,
+    a little way from and behind the men. Suddenly they stop, look around
+    at each other and listen, for they hear the fairy dance music of
+    the first scene, which is not heard by these older men, who go on
+    talking._)
+
+_First Boy_
+
+Dey's havin' parade up dere.
+
+_Second Boy_
+
+Dat ain't band music, you mutt.
+
+    (FIRST BOY _begins to sway as if in time with the music._)
+
+_Second Boy_
+
+Wot's the matter?
+
+_First Boy_ (_sheepish_)
+
+Nuthin'. (_Tries to keep still. They both listen._) Did yer ever dance,
+Buck?
+
+_Second Boy_
+
+Naw. (_Listens._) But I bet I could!
+
+_First Boy_
+
+I had a dream onct. I dremp I's in an orchard, an' they's blooms
+floatin' round. I could smell 'em!
+
+_Second Boy_
+
+You's nutty. You can't smell in a dream.
+
+    (_They listen, and finally yield to the music, swaying their bodies,
+    moving their arms, and beginning to dance as the music goes on._)
+
+_Jack_
+
+I've been here fourteen years, since I was a boy. It ain't a place for
+a man. It's too black. You get black outside and inside. Why, they say
+your lungs get black from breathing this dust. And your soul gets black.
+The place for an honest man to work is out in the white light, on your
+ocean or in your woods, or on the roads and railways, and in the big
+buildings. This kind of work is work with punishment added to it. A
+little of it would be all right for men who go wrong, or for some as
+needs discipline. Then some day they'll get machines to do the rest.
+Ah--there's the whistle. Come on, boys, to work again!
+
+    (_A whistle sounds and all start to work as before._)
+
+(CURTAIN FALLS)
+
+
+    FINAL SCENE: _Curtain rises on final scene. Same as first, with
+    music as before, and with the mother and father and children among
+    the apple-trees._ CHO-CHO _appears, right, and says: "Here they
+    come!"_ EVERYCHILD _enters, right, bringing with her a number
+    of children, who follow her and then scatter under the trees._
+
+_Everychild_
+
+Oh, mother, I went everywhere, and we've brought all who could come!
+But there were some in holes in the ground that I couldn't reach, though
+we danced and danced, and called and called. They were too far down.
+And there were some ill and crippled, in hospitals, that couldn't walk,
+and some hidden away in great buildings called factories--and some in
+tenements, where there was no sun, and no green grass to walk on.
+Mother, what shall we do? It was so hard to leave them. Won't you go
+back with me, and help me?
+
+_Mother_
+
+Yes, Everychild. We must all go. Not one must be left down there.
+
+_Father_
+
+Yes, we cannot go on up the Morning Mountains until they come.
+
+_Mother_
+
+We will start at once, all of us, down through the highways and valleys
+and cities of the world, and bring them here. Come, children, let us go.
+
+    (_They gather about her and start down, right, singing as they
+    go._ CHO-CHO _lingers behind for a few moments and pronounces an
+    epilogue._)
+
+
+
+
+EPILOGUE
+
+
+  Not all here yet--
+  But they must come
+  To this sunshine--
+  To these mountains--
+  To these birds and trees--
+  To the music--
+  To the Land of Health,
+  The Land of Happiness--
+  They may be gay _there_--
+      Sometimes--
+      Sometimes--
+  But _that_ is a fool's Paradise--
+  My old Kingdom--
+  And I must lead them up
+  To this new land
+  Of hope and joy.
+
+
+(CURTAIN FALLS)
+
+
+
+
+
+
+TWO DOCTORS AT AKRAGAS
+
+BY
+
+FREDERICK PETERSON
+
+
+
+
+CHARACTERS
+
+
+  AKRON
+  EMPEDOCLES
+  PANTHEIA
+
+
+
+
+TWO DOCTORS AT AKRAGAS
+
+[_Atlantic Monthly_, 1911.]
+
+
+_Akron_
+
+She has been dead these thirty days.
+
+_Empedocles_
+
+How say you, thirty days! and there is no feature of corruption?
+
+_Akron_
+
+None. She has the marble signature of death writ in her whole fair
+frame. She lies upon her ivory bed, robed in the soft stuffs of Tyre, as
+if new-cut from Pentelikon by Phidias, or spread upon the wood by the
+magic brush of Zeuxis, seeming as much alive as this, no more, no less.
+There is no beat of heart nor slightest heave of breast.
+
+_Empedocles_
+
+And have you made the tests of death?
+
+_Akron_
+
+There is no bleeding to the prick, nor film of breath upon the bronze
+mirror. They have had the best of the faculty in Akragas, Gela, and
+Syracuse, all save you; and I am sent by the dazed parents to beseech
+you to leave for a time the affairs of state and the great problems
+of philosophy, to essay your ancient skill in this strange mystery of
+life in death and death in life.
+
+_Empedocles_
+
+I will go with you. Where lies the house?
+
+_Akron_
+
+Down yonder street of statues, past the Agora, and hard by the new
+temple that is building to Olympian Zeus. It is the new house of yellow
+sandstone, three stories in height, with the carved balconies and
+wrought brazen doors. Pantheia is her name. I lead the way.
+
+_Empedocles_
+
+The streets are full to-day and dazzling with color. So many carpets
+hang from the windows, and so many banners are flying! So many
+white-horsed chariots, and such concourses of dark slaves from every
+land in the long African crescent of the midland sea, from the pillars
+of Hercules to ferocious Carthage and beyond to the confines of Egypt
+and Phoenicia! Ah, I remember now! It is a gala day--the expected
+visit of Pindar. I am to dine with him to-morrow at the Trireme. We
+moderns are doing more to celebrate his coming than our fathers did
+for Æschylus when he was here. I was very young then, but I remember
+running with the other boys after him just to touch his soft gown and
+look into his noble face.
+
+_Akron_
+
+I have several rolls of his plays, that I keep with some new papyri of
+Pindar arrived by the last galley from Corinth, in the iron chest inside
+my office door, along with some less worthy bags of gold of Tarshish and
+coinage of Athens, Sybaris, Panormos, and Syracuse. Ah, here is the
+door! It is ajar, and if you will go into the courtyard by the fountain
+and seat yourself under the palm-trees and azaleas on yon bench, by the
+statue of the nymph, I will go up to announce your coming.
+
+_Empedocles_
+
+All is still save for the far, faint step of Akron on the stair, and the
+still fainter murmur from the streets. The very goldfish in the fountain
+do not stir, and the long line of slaves against the marble wall, save
+for their branded foreheads, might be gaunt caryatides hewn in Egyptian
+wood or carved in ebony and amber. That gaudy tropic bird scarce ruffles
+a feather. What is the difference between life and death? A voice, a
+call, some sudden strange or familiar message on old paths, to the
+consciousness that lies under that apparent unconsciousness, will waken
+all these semblances of inanimation into new life of arms and fins and
+wings. Let me try her thus! My grandfather was a pupil of Pythagoras
+who had seen many such death-semblances among the peoples of the white
+sacred mountains of far India. Ha! Akron beckons. I must follow him.
+
+_Akron_
+
+Enter yon doorway where the white figure lies resplendent with jewels
+that gleam in the morning sun.
+
+_Empedocles_
+
+The arm drawn downward by the heavy golden bracelet is cold, yet soft
+and yielding like a sleep. The face has the natural ease of slumber, and
+not the rigid artificiality of death. 'Tis true there is no pulse, no
+beat of heart nor stir of breath, yet neither is there the sombre
+grotesqueness of the last pose. But the difference between life and
+death is here so small that it is incommensurable, the point of the
+mathematicians only. I shall hold this little hand in mine, and, with a
+hand upon her forehead, call her by name; for, you know, Akron, one's
+name has a power beyond every other word to reach the closed ears of the
+imprisoned soul.
+
+Pantheia! Pantheia! Pantheia! It is dawn. Your father calls you. Your
+mother calls you. And I call you and command you. Open your eyes and
+behold the sun!
+
+_Akron_
+
+A miracle, oh, Zeus! The eyelids tremble like flower-petals under the
+wind of heaven. Was that a sigh or the swish of wings? Oh, wonder of
+wonders! she breathes--she whispers!
+
+_Pantheia_
+
+Where am I? Is this death? Some one called my name. That is the pictured
+ceiling of my own room. Surely that is Zaldu, my pet slave, with big
+drops on her black face.... And father, mother, kneeling either side.
+And who are you with rapt face and star-deep eyes, thick hair with
+Delphic wreaths, and in purple gown and golden girdle? Are you a god?
+
+_Empedocles_
+
+Be tranquil, child, I am no god, only a physician come to heal you. You
+have been ill and sleeping a long time.
+
+_Pantheia_
+
+Yes, I feel weakness, hunger, and thirst. I remember now that I was
+well, when suddenly a strange thought came to me on my pillow. I
+thought that I was dead. This took such possession of me that it shut
+out every other thought, and being able to think only that one thought,
+I must have been dead. It seemed but a moment's time when the spell of
+the thought was broken by an alien deep voice from the void of nothing
+about me, calling me by name, calling me to wake and see the day. With
+that came floods of my own old thoughts, like molten streams from Ætna,
+that were rigid as granite before the word was given that loosed them.
+
+_Empedocles_
+
+Did you not see new things or new lands or old dead faces, for you have
+been gone a month? I am curious to know.
+
+_Pantheia_
+
+How passing strange! No, I saw neither darkness nor light. I heard no
+sounds, nor was conscious of any silence. I must have had just the one
+thought that I was dead, but I lost consciousness of that thought. I
+remember saying good night to Zaldu, and I handed her the quaint doll
+from Egypt and bade her care for it. Then the thought seized me, and I
+knew no more. My thoughts which had always run so freely before, like
+a plashing brook, must have suddenly frozen, as the amber-trader from
+the Baltic told me one day the rivers do in his far northern home. Oh,
+sir, are you going so soon?
+
+_Empedocles_
+
+Yes, child. You must take nourishment now, and talk no more. But I am
+coming again to see you, for I have many earnest questions still to put
+regarding this singular adventure.
+
+_Akron_
+
+Let me walk with you. I will close the great door. Already the gay
+streets are silent, and the people crowd this way, whispering awe-struck
+together of the deed of wonder you have done this day. You have called
+back the dead to life, and they make obeisance to you as you pass, as if
+you were in truth a son of the immortals. Your name will go down the
+ages linked with the miracle of Pantheia. You are immortal.
+
+_Empedocles_
+
+Nay, 'tis not so strange as that, and yet 'tis stranger.
+
+_Akron_
+
+I would know your meaning better.
+
+_Empedocles_
+
+The power of a thought, that is the real wonder! We just begin to have
+glimpses of the effects of the mind upon the body. To me, Akron, the
+faculty has set too great store upon herbs and bitter drafts, and
+cutting with the knife. I would fain have the soul acknowledged more,
+our therapy built on the dual mechanism of mind and substance. For if an
+idea can lead to the apparent death of the whole body, so might other
+ideas bring about the apparent death of a part of the body, like, for
+example, a paralysis of the members, or of the senses of sight, feeling,
+hearing; and in truth I have seen such things. Or a thought might give
+rise to a pain, or to a feeling of general illness, or to a feeling of
+local disorder in some internal organ; and I feel sure I have likewise
+met with such instances. And if an idea may produce such ailments, then
+a contrary idea implanted by the physician may heal them. I believe
+this to be the secret of many of the marvels we see at the temples and
+shrines of Æsculapius and of the cures made by the touch of seers and
+kings.
+
+But this teaching goes much deeper and further. If we could in the
+schools implant in our youth ideas which were strong enough, we should
+be able to make of them all, each in proportion to his belief in himself
+and his ambition, great men, great generals, thinkers, poets, a new race
+of heroes in all lines of human endeavor, who should be able by their
+united strength of idea and ideal finally to people the world with gods.
+
+I have among my slaves, who work as vintners and olive-gatherers, a
+physician of Thrace, as also a philosopher of the island of Rhodes, a
+member of the Pythagorean League. These I bought not long ago from the
+Etruscan pirates. Every evening I have them come to me on the roof after
+the evening meal, and there under the quiet of the stars we discuss life
+and death, the soul and immortality, and all the burning problems of
+order, harmony, and number in the universe. What surprises me is that
+this Thracian should be so in advance of the physicians of Hellas,
+for he holds as I do that the mind should be first considered in the
+treatment of most disorders of the body, because of its tremendous
+power to force the healing processes, and because sometimes it
+actually induces disease and death. And we have talked together of the
+incalculable value of faith and enthusiasm so applied in the education
+of the child, this new kind of gardening in the budding soul of mankind,
+and of what new and august races might thereby come to repeople this
+rather unsatisfactory globe.
+
+I am minded to free these slaves, indeed all my slaves, and I have the
+intention of devoting the most of a considerable fortune, both inherited
+and amassed by me, to the spread of these doctrines and to the public
+weal, particularly in the matter of planting in the souls of our youth,
+not the mere ability to read and write Greek and do sums in arithmetic,
+but the seeds of noble ideas that shall make this Trinacria of ours a
+still more wonderful human garden than it has been as a granary for the
+world's practical needs. From this sea-centre we send our freighted
+galleys to Gades in the West, Carthage in the South, Tyre in the East,
+and to the red-bearded foresters of the Far North. I would still send on
+these same routes this food, but also better food than this, stuff that
+should kindle and feed intellectual fires in all the remote places of
+the earth.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Flutter of the Goldleaf; and Other
+Plays, by Olive Tilford Dargan and Frederick Peterson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE FLUTTER OF THE GOLDLEAF ***
+
+***** This file should be named 20172-8.txt or 20172-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/0/1/7/20172/
+
+Produced by David Garcia and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Kentuckiana Digital Library)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/20172-8.zip b/20172-8.zip
new file mode 100644
index 0000000..330275c
--- /dev/null
+++ b/20172-8.zip
diff --git a/20172-h.zip b/20172-h.zip
new file mode 100644
index 0000000..42b0c24
--- /dev/null
+++ b/20172-h.zip
diff --git a/20172-h/20172-h.htm b/20172-h/20172-h.htm
new file mode 100644
index 0000000..071dbdb
--- /dev/null
+++ b/20172-h/20172-h.htm
@@ -0,0 +1,5754 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" />
+<meta content="pg2html (binary v0.18)" name="generator" />
+<title>The Project Gutenberg eBook of
+    The Flutter of the Goldleaf; and other plays,
+    by Olive Tilford Dargan and Frederick Peterson.
+</title>
+<style type="text/css">
+/*<![CDATA[*/
+    <!--
+ body { margin-left: 10%; margin-right: 10%; }
+    p { text-indent:   1em;
+        margin-top:    .75em;
+        font-size:     100%;
+        text-align:    justify;
+        margin-bottom: .75em; }
+    h1,h2,h3,h4,h5,h6 { text-align: center; }
+    hr  { width: 50%; }
+    hr.full { width: 100%; }
+    .halftitle { display: inline; }
+    .foot { margin-left: 10%; margin-right: 10%; text-align: justify; text-indent: -3em; font-size: 85%; }
+    .poem { margin-left: 10%; margin-right: 10%; margin-bottom: 1em; text-align: left; }
+    .poem .stanza { margin: 1em 0em 1em 0em; }
+    .poem p     { margin: 0; padding-left: 3em; text-indent: -3em; }
+    .poem p.i2  { margin-left: 1.5em; }
+    .poem p.i4  { margin-left: 2.5em; }
+    .poem p.i6  { margin-left: 3.5em; }
+    .quote { margin-left: 6%; margin-right: 6%; text-indent: 0em; font-size: 90%; }
+    center { padding: 0.8em;}
+    .sc { font-variant: small-caps; }
+    .scs { font-variant: small-caps; padding-left: 2em; font-size: 70%; }
+    .scene,.stage { padding-left: 7.5em; text-indent: -3em; }
+    .scene2 { padding-left: 7.5em; text-indent: 1em; }
+    .char { text-indent: 0; text-align: center; }
+    span.pagenum         {position: absolute; left: 1%; right: 91%; font-size: 8pt; color: gray; background-color: inherit; display: inline; }
+    .center { text-indent: 0; text-align: center; }
+/*]]>*/
+    // -->
+</style>
+</head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Flutter of the Goldleaf; and Other Plays, by
+Olive Tilford Dargan and Frederick Peterson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Flutter of the Goldleaf; and Other Plays
+
+Author: Olive Tilford Dargan and Frederick Peterson
+
+Release Date: December 23, 2006 [EBook #20172]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE FLUTTER OF THE GOLDLEAF ***
+
+
+
+
+Produced by David Garcia and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Kentuckiana Digital Library)
+
+
+
+
+
+
+</pre>
+
+
+<p>
+<span class="pagenum"><a id="pagei" name="pagei"></a>[i]</span>
+</p>
+
+<!-- Suppress display of half-title page -->
+<div class="halftitle">
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+<h1>
+THE FLUTTER
+<br />
+OF THE GOLDLEAF
+</h1>
+<h2>
+AND OTHER PLAYS
+</h2>
+
+</div>
+
+<p>
+<span class="pagenum"><a id="pageii" name="pageii"></a>[ii]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p>
+<span class="pagenum"><a id="pageiii" name="pageiii"></a>[iii]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h1>
+    THE FLUTTER
+<br />
+OF THE GOLDLEAF
+</h1>
+<h2>
+AND OTHER PLAYS
+</h2>
+
+<h3>
+BY<br />
+OLIVE TILFORD DARGAN
+<br />
+AND<br />
+FREDERICK PETERSON
+</h3>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+NEW YORK <br />
+CHARLES SCRIBNER'S SONS <br />
+1922
+</p>
+
+<p>
+<span class="pagenum"><a id="pageiv" name="pageiv"></a>[iv]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p class="center">
+<span class="sc">Copyright, 1922, by</span> <br />
+CHARLES SCRIBNER'S SONS
+</p>
+
+<p class="center">
+PRINTED AT <br />
+THE SCRIBNER PRESS <br />
+NEW YORK, U. S. A.
+</p>
+
+<p>
+<span class="pagenum"><a id="pagev" name="pagev"></a>[v]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    CONTENTS
+</h2>
+
+<table border="0" width="90%" summary="Table of Contents">
+<tr><td></td><td align="right"><span class="scs">PAGE</span></td></tr>
+
+<tr><td>
+  <a href="#h2H_4_0002"><span class="sc">The Flutter of the Goldleaf</span></a>
+</td><td align="right">1</td></tr>
+<tr><td>
+<span class="scs">BY OLIVE TILFORD DARGAN AND FREDERICK PETERSON</span></td></tr>
+<tr><td>
+  <a href="#h2H_4_0005"><span class="sc">The Journey</span></a>
+</td><td align="right">49</td></tr>
+<tr><td>
+      <span class="scs">BY OLIVE TILFORD DARGAN</span></td></tr>
+<tr><td>
+  <a href="#h2H_4_0008"><span class="sc">Everychild</span></a>
+</td><td align="right">75</td></tr>
+<tr><td>
+      <span class="scs">BY FREDERICK PETERSON AND OLIVE TILFORD DARGAN</span></td></tr>
+<tr><td>
+  <a href="#h2H_4_0012"><span class="sc">Two Doctors at Akragas</span></a>
+</td><td align="right">103</td></tr>
+<tr><td>
+      <span class="scs">BY FREDERICK PETERSON</span></td></tr>
+</table>
+
+<p>
+<span class="pagenum"><a id="pagevi" name="pagevi"></a>[vi]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p>
+<span class="pagenum"><a id="page1" name="page1"></a>[1]</span>
+</p>
+
+<a name="h2H_4_0002" id="h2H_4_0002"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    THE FLUTTER OF THE GOLDLEAF
+</h2>
+<h3>
+    A PLAY IN ONE ACT
+</h3>
+
+<p class="center">
+<span class="sc">by</span>
+<br />
+<span class="sc">Olive Tilford Dargan</span>
+<br />
+<span class="sc">and</span>
+<br />
+<span class="sc">Frederick Peterson</span>
+</p>
+<p>
+<span class="pagenum"><a id="page2" name="page2"></a>[2]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    CHARACTERS
+</h2>
+
+<p>  <span class="sc">Philo Warner</span>, <i>a student</i></p>
+<p>  <span class="sc">Hiram Warner</span>, <i>his father, the village grocer</i></p>
+<p>  <span class="sc">Mary Ann Warner</span>, <i>his mother</i></p>
+<p>  <span class="sc">Dr. Bellows</span>, <i>the village physician</i></p>
+<p>  <span class="sc">Dr. Seymour</span>, <i>a city specialist</i></p>
+<p>  <span class="sc">Reba Sloan</span>, <i>a neighbor's daughter</i></p>
+
+<p>
+<span class="pagenum"><a id="page3" name="page3"></a>[3]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    THE FLUTTER OF THE GOLDLEAF
+</h2>
+
+<p class="scene">
+<span class="sc">Scene</span>: <i>Laboratory in the attic of the Warner cottage.
+    At right, toward rear, entrance from down-stairs. A rude partition,
+    left, with door in centre. Window centre rear. Large kitchen table
+    loaded with apparatus. Shelves, similarly loaded, against wall near
+    table, right. Wires strung about. A rude couch, bench, and several
+    wooden chairs.</i>
+</p>
+<p class="scene2">
+    <i>Time, about 8 p.m. Lamp burns on table.</i> <span class="sc">Mrs. Warner</span> <i>comes
+    up-stairs, puts her head inside the room nervously, then enters and
+    looks about.</i>
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Such a mess! And the doctors will be here in half an hour! (<i>Tries to
+get busy but seems bothered. Crosses to table and looks at a little
+machine that stands upon it.</i>) <i>That's</i> what's driving my boy crazy! If
+I only dared to smash it! The right sort of a mother would do just that!
+(<i>Looks at machine with dire meditation.</i>)
+</p>
+<p class="char">
+<i>Warner</i> (<i>without, roaring up the stairs</i>)
+</p>
+<p>
+Mary Ann!
+</p>
+<p>
+<span class="pagenum"><a id="page4" name="page4"></a>[4]</span>
+</p>
+<p class="char">
+<i>Mrs. W.</i> (<i>jumps</i>)
+</p>
+<p>
+Yes, Hiram!
+</p>
+<p class="char">
+<i>Warner</i> (<i>entering</i>)
+</p>
+<p>
+Where's Philo?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+In the orchard. I watched my chance, and thought I'd redd up a little.
+He won't let me touch anything when he's here.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Just about lives up here, don't he?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Day and night now, since he's been too sick to go to the store. And
+I can't have Dr. Bellows bring in that specialist from New York with
+things lookin' as if a woman had never come up the stairs. (<i>Dusting
+and rattling.</i>)
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Philo's not onto what the doctors are after, is he?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+He thinks they're coming to look at his machine mostly&mdash;and see what's
+keepin' him awake nights. But maybe he knows. He's awful sharp.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Sharp? Wish he knew enough to sell eggs and bacon. He's ruinin' my
+business. Weighs a
+
+<span class="pagenum"><a id="page5" name="page5"></a>[5]</span>
+
+                   pound of coffee as if he was asleep. I can see
+customers watchin' him out o' the tail o' their eye. They're gettin'
+<i>afraid</i> of him! Mary Ann, the boy's going to be a shame to us. He's
+crazy!
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Don't you call <i>my</i> boy crazy. I won't hear it, Hiram.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+No, you'll wait till the whole village tells you! They're all talkin'
+now!
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+It's none o' their business!
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+It'll be their business if he flies up and hurts somebody.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Philo wouldn't hurt anything alive. He got mad at me once for killin'
+a spider.
+</p>
+<p class="char">
+<i>Warner</i> (<i>scornfully</i>)
+</p>
+<p>
+Showed his sense there, didn't he?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+If Philo's queer it's not from my side of the house. You know what your
+mother was like&mdash;wanderin' round nights starin' at the stars with that
+old spy-glass Captain Barker gave her.
+</p>
+<p>
+<span class="pagenum"><a id="page6" name="page6"></a>[6]</span>
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+She was a good mother, all the same.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Couldn't cook at all. Your father only kept alive by eating at the
+neighbors occasionally&mdash;and as for sewing and mending, you children went
+in rags till your Aunt Sary came to live with you.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Mother thought a heap of us, though. I remember how she cried because I
+wouldn't go to school and went into the grocery business. And she cried
+a lot more when I married you. I couldn't understand her&mdash;<i>then</i>....
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Humph! She'd been shut up fast enough if your father hadn't been the
+softest-hearted man alive.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Maybe the boy does take after her, but he's worse'n she ever was.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+She didn't have any books&mdash;or college education&mdash;to turn her head.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Nothing to read but the <i>Weekly Mirror</i>. It was a good paper, though,
+all about crops and stock,
+
+<span class="pagenum"><a id="page7" name="page7"></a>[7]</span>
+
+                           and what the country people were doing, and
+a love story on the inside page. Father subscribed on her account. She
+told him her mind had to have <i>something</i> to work on. But she didn't
+take to the paper, and he had to read it himself to get his money's
+worth.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+A good thing she didn't have a library to get at like Philo. All those
+books he brought home didn't do him any good. He began to get queer
+about the time he was reading that set of Sir Humphry Davy's Complete
+Works, with so much about electrics and the stars, and that sort of
+stuff. If we could only get him to quit this studyin' and stay
+out-o'-doors....
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+S'pose we clear out this hole&mdash;burn the books, and get rid of all these
+confounded wires and jars and fixings. I don't believe he saves a penny
+of the wages I give him for helpin' to ruin me. All he makes goes for
+this truck. We'll clear it out.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I've thought of that, but we oughtn't to go too far. They're his anyhow,
+and I'm afraid&mdash;&mdash;
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Well, I'm not afraid! And I'll begin with this
+
+<span class="pagenum"><a id="page8" name="page8"></a>[8]</span>
+
+                                               devil! (<i>Pauses over
+machine. Starts suddenly.</i>) What's that? He's coming!
+</p>
+<p class="char">
+<i>Mrs. W.</i> (<i>listening</i>)
+</p>
+<p>
+It's only Alice going to her room.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Perhaps we'd better see what the specialist says first.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I know Dr. Bellows wants us to send Philo away. But I'm against that,
+first and last.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+You wouldn't be if you'd listen to Bellows awhile. You know what he told
+me when I met him this morning? "Why, Warner," he says, "I never go to
+see the boy without taking a pair of handcuffs in my pocket. It's the
+quiet ones that go the wildest when they do break out."
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Oh, Hiram, it's not going to be so bad as that. Don't let him set you
+against your own flesh and blood. Just let me manage awhile. He needs to
+get stirred up about something&mdash;get his mind off this. I wish I hadn't
+stopped those letters he was getting from Reba Sloan when she went off
+to school two years ago.
+</p>
+<p>
+<span class="pagenum"><a id="page9" name="page9"></a>[9]</span>
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+But you said you'd rather see him dead than married to Sloan's girl.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I meant it, too! But seeing your child dead is not so bad as seeing him
+crazy&mdash;and if Reba can save him&mdash;&mdash;
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+How in thunder&mdash;&mdash;
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+She's a taking girl, Hiram&mdash;since she got back. If Philo gets his mind
+fixed on <i>her</i>, she'll soon have him forgettin' this. Why,&mdash;you remember
+for three months before we were married you couldn't think o' nothing
+but me.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Good Lord! Is that so, Mary Ann?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I had to hurry up the weddin' to save your business. You were letting
+Jabe McKenny take all your trade right under your nose.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Sakes 'a' mighty! If I could come out of a spell like that, there's some
+hope for our poor chap.
+</p>
+<p>
+<span class="pagenum"><a id="page10" name="page10"></a>[10]</span>
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+That's what I'm telling you!
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+But Reba's father&mdash;you going to have old fiddler Sloan in the family?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+He's come into some money now, and any gentleman can take an interest
+in music.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+And the mother was that foreign woman.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+But she's dead. It's just as well Philo won't have a mother-in-law.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Reba'll have one, all right. If Philo stays queer it'll be hard on the
+girl, won't it?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+He'll not stay queer. If he gets that girl in his head there won't be
+room for anything else&mdash;for a while anyway. He'll be worse'n you ever
+was. You let me manage it, Hiram.
+</p>
+<p class="stage">
+(<span class="sc">Philo</span> <i>is heard coming up the stairs. They listen in silence
+    until he enters. He is talking, not quite audibly, to himself, and
+    doesn't see them. Goes to table and stands by machine.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page11" name="page11"></a>[11]</span>
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Here&mdash;at last&mdash;I have caught the word ... the word of the stars.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Philo!
+</p>
+<p class="char">
+<i>Philo</i> (<i>looking up</i>)
+</p>
+<p>
+Mother!... Father!... (<i>In alarm.</i>) You haven't touched anything here?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+No, my son. I've just put the place to rights a bit. Dr. Seymour is
+coming, you know.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Yes. (<i>Walks the floor, meditating.</i>)
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+You must come out of this dream, Philo.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+It is not a dream! I am the only being in the world who is awake!
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+My son!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Man sleeps&mdash;like the rocks, trees, hills&mdash;while all around him, out of
+the unseen, beating on blind eyes, deaf ears, numbed brain, sweep the
+winds of eternity, the ether waves, the signals from the deeps of space!
+</p>
+<p>
+<span class="pagenum"><a id="page12" name="page12"></a>[12]</span>
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Hey, diddle, diddle!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Sleep-walkers all&mdash;the people in the streets, the shops&mdash;the mad people
+with their heaps of gold!
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Now don't work yourself up, Philo, with the doctor coming. You want to
+tell him about your machine.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Yes. He is a great man. He has studied these things. I will talk to him.
+He will not laugh.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Mary Ann, don't you think we'd better bring up some cider? It'll look
+more hospitable like.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+That city doctor won't care anything about cider.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+My cider's good enough for anybody! And Dr. Bellows'll be sure to ask
+for it.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Well, wait till he does. (<i>Looks uneasily about room.</i>) Don't you think,
+son, that if you're going to take to having visitors here I'd better
+
+<span class="pagenum"><a id="page13" name="page13"></a>[13]</span>
+
+ move some furniture up? You could have the haircloth sofa&mdash;the springs
+are broke anyway&mdash;and Alice says she don't want the wax flowers in the
+parlor any more. They're turnin' yellow, but you wouldn't notice it up
+here.
+</p>
+<p class="char">
+<i>Philo</i> (<i>clinching his hands</i>)
+</p>
+<p>
+Do what you like, mother, only don't take anything <i>out</i>. If anything
+happened to my work I believe I'd go crazy!
+</p>
+<p class="stage">
+    (<i>The parents look at each other.</i>)
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Thought your work was tendin' the store.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Brother Will is more help there than I am, father.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+You're right about that. Will's got a head on.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+You'd better go down, Hiram, and meet the doctors.
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Alice'll show them up.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Where's that strange smell comin' from? Do you work in the other room,
+too, Philo? (<i>Goes in, left.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page14" name="page14"></a>[14]</span>
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Father ... I'm sorry about the store ... I wish I could tell you ... but
+what's the use? You won't believe!
+</p>
+<p class="stage">
+    (<i>Re-enter</i> <span class="sc">Mrs. W.</span>)
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Gracious! I couldn't breathe in there! Got to clear <i>something</i> out
+before Reba comes up here. She'd have no respect for my housekeeping.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Reba?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Reba Sloan. She's been asking if she couldn't come. She's just wild to
+see your machine.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Don't you ever let her up here, mother!
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+But she asked me, Philo&mdash;and a neighbor's daughter, you know&mdash;&mdash;
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I thought she was away from home.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Been back a month&mdash;walks all about right under your eyes. You ought to
+be <i>civil</i>, Philo.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I want to see Dr. Seymour. I should like to
+
+<span class="pagenum"><a id="page15" name="page15"></a>[15]</span>
+
+                                             have him know what I'm
+doing. But if you're going to turn the whole village in here, I'll bar
+the door, that's all.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+My son, if you'd only interest yourself a little&mdash;&mdash;
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I'm not interested in anything nearer than thirty-five million miles!
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+What did I tell you, Mary Ann?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I hear the doctors! Now, Philo, if you can't talk sense, don't say
+<i>anything</i>.
+</p>
+<p class="stage">
+    (<i>Enter</i> <span class="sc">Seymour</span> <i>and</i> <span class="sc">Bellows</span>.)
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Good evening, Warner. How d' do, Mrs. Warner! My friend, Dr. Seymour.
+</p>
+<p class="char">
+<i>Warner and Mrs. W.</i>
+</p>
+<p>
+How do you do, sir!
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Philo, I've brought Dr. Seymour around to have a talk with you. He's
+down from New York for a day or two. Been sleeping any better?
+</p>
+<p>
+<span class="pagenum"><a id="page16" name="page16"></a>[16]</span>
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Too much. I need all my time. I'm very glad to see you, Dr. Seymour.
+</p>
+<p class="stage">
+    (<i>All take seats.</i>)
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I hope you'll excuse the looks of the room, doctor.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+It looks very interesting indeed to me, Mrs. Warner. The workshop of a
+student, and a busy one. (<i>To</i> <span class="sc">Philo</span>.) You've been working too
+hard, I see.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I'm tired, perhaps, but I am well. When a man makes a momentous
+discovery he is apt to be overwrought. He may not eat or sleep well for
+a time. He may even appear to be strange or mad.
+</p>
+<p class="stage">
+    (<span class="sc">Mrs. W.</span> <i>coughs suddenly.</i>)
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I'm afraid that's not a comfortable chair, Dr. Seymour.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Quite comfortable, Mrs. Warner.
+</p>
+<p class="char">
+<i>Mrs. W.</i> (<i>rapidly</i>)
+</p>
+<p>
+Philo is my oldest boy, and I never could keep
+
+<span class="pagenum"><a id="page17" name="page17"></a>[17]</span>
+
+                                               him away from books. Will,
+my second son, is as steady in the store as his father himself, and
+Johnny is just fine on the wagon. As for Alice, there's not a neater
+all-round girl to be found anywhere. They're healthy, sensible children,
+every one of 'em, and don't care what's inside any book in the
+world&mdash;but Philo was just bent on going to college&mdash;&mdash;
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+A very natural bent for an ambitious boy.
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Tell us about the discovery, Philo, my lad.
+</p>
+<p class="char">
+<i>Philo</i> (<i>rising and walking slowly up and down the room</i>)
+</p>
+<p>
+I think I will. It will be another experiment. I know what the effect
+will be on Dr. Bellows. He is an old friend of mine&mdash;but you, sir, are a
+stranger. I should like to try your mind and see if you are awake or
+asleep.
+</p>
+<p class="stage">
+    (<span class="sc">Bellows</span> <i>winks toward</i> <span class="sc">Seymour</span>, <i>who takes no
+    notice, but gives</i> <span class="sc">Philo</span> <i>careful attention.</i>)
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+I hope I shall not disappoint you.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I believe we have some points of view in common, for your profession
+needs to take note of
+
+<span class="pagenum"><a id="page18" name="page18"></a>[18]</span>
+
+                       many problems connected with both evolution and
+electricity. I have been a reader of general science for many years. The
+fact that on the earth we have had a slow evolution from a monad to a
+man contains a promise of further development of man into&mdash;let us say an
+angel.
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Not very soon, I guess.
+</p>
+<p class="char">
+<i>Philo</i> (<i>sharply</i>)
+</p>
+<p>
+Hardly in your day, doctor. You needn't worry about the fashion in
+wing-feathers.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Go on, Mr. Warner.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+In others of the many millions of globes about us in space, a similar
+evolution is going on, and in some the evolution is less advanced than
+in ours, in others incomparably more advanced.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+We may admit that.
+</p>
+<p class="stage">
+    (<span class="sc">Bellows</span> <i>looks to</i> <span class="sc">Warner</span> <i>for sympathy, and
+    shakes his head.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+We have reached a stage when we have begun to peer out into the stellar
+depths and question them. We are beginning to master the light and
+
+<span class="pagenum"><a id="page19" name="page19"></a>[19]</span>
+
+  the
+lightning, to measure the vastness of space, to weigh the suns, to
+determine the elements that comprise them, to talk and send messages
+thousands of miles without wires. Each year uncovers new wonders,
+infinitely minute, infinitely great.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+True,&mdash;all true.
+</p>
+<p class="char">
+<i>Philo</i> (<i>becoming more repressed and tensely excited as he goes on</i>)
+</p>
+<p>
+The dreams of the alchemists are being realized. That machine yonder
+detects the waves from a millionth of a millionth of a milligramme of
+radium.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+What!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I have invented a tuned electroscope that would be destroyed by such
+waves, so sensitive as to react only to waves from an inconceivable
+distance, beyond thirty-five million miles.
+</p>
+<p class="char">
+<i>Seymour</i> (<i>trying to take it in</i>)
+</p>
+<p>
+Thirty-five million miles!
+</p>
+<p class="char">
+<i>Philo</i> (<i>with great tension</i>)
+</p>
+<p>
+Three weeks ago I made this instrument, and ever since then, at regular
+intervals, there have
+
+<span class="pagenum"><a id="page20" name="page20"></a>[20]</span>
+
+                      been rhythmic flutterings of the goldleaf, regular
+repetitions, as if it were knocking at the door of earth from the
+eternal silences. I have watched it&mdash;the same measured fluttering&mdash;two
+beats&mdash;then three&mdash;then two&mdash;then four and a pause! It is a studied
+measure! It has meaning! When I first noticed it&mdash;the faint flutter of
+the goldleaf&mdash;and knew that any waves from a nearer point than
+thirty-five million miles would utterly destroy so delicate an
+instrument&mdash;my hair stood on end. I have watched it three
+weeks&mdash;alone&mdash;and you ask me why I do not sleep!... Look!
+</p>
+<p class="stage">
+    (<i>The doctors spring up electrified, and stare at the instrument.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+There it is again! Two beats&mdash;then three&mdash;then two&mdash;then four&mdash;now it
+is over!
+</p>
+<p class="stage">
+    (<span class="sc">Seymour</span> <i>continues to stare at the instrument.</i>
+    <span class="sc">Bellows</span> <i>subsides into a chair, looking foolish.</i>)
+</p>
+<p class="char">
+<i>Seymour</i> (<i>to himself</i>)
+</p>
+<p>
+Impossible!... (<i>To</i> <span class="sc">Philo</span>.) What was it you were saying? What
+did you see?
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I saw what you saw&mdash;signals from a distance
+
+<span class="pagenum"><a id="page21" name="page21"></a>[21]</span>
+
+                                             farther than the distance
+of the nearest planet to our earth.
+</p>
+<p class="char">
+<i>Seymour</i> (<i>shaken</i>)
+</p>
+<p>
+But I saw nothing. At least a slight movement in anything so sensitive
+might be due to many causes....
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Yes! It is always the old story. Truths must be hammered into humanity!
+Branded in with flame, or driven in with sword and bullet!
+</p>
+<p class="char">
+<i>Bellows</i> (<i>starting up alarmed</i>)
+</p>
+<p>
+Hadn't we better be going, doctor?
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Oh, no! Wait till you've talked me over. Decide whether I'm mad or not!
+If I'm a menace to the community! If I must be locked up! My father and
+mother are waiting to know. Don't go! Finish your work! (<i>Rushes into
+room, left.</i>)
+</p>
+<p class="char">
+<i>Bellows</i> (<i>triumphantly to</i> <span class="sc">Seymour</span>)
+</p>
+<p>
+Well?
+</p>
+<p class="stage">
+    (<span class="sc">Seymour</span> <i>hesitates, looks at the father and mother, then at</i>
+    <span class="sc">Bellows</span>, <i>and takes out his match-case.</i>)
+</p>
+<p class="char">
+<i>Bellows</i> (<i>making a conquest of the obvious</i>)
+</p>
+<p>
+Warner, a little of that fine cider of yours would just finish off our
+chat.
+</p>
+<p>
+<span class="pagenum"><a id="page22" name="page22"></a>[22]</span>
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Nothing better! (<i>Starting out, whispers to</i> <span class="sc">Mrs. W.</span>) Where's
+grandma's silver pitcher?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I'll get <i>that</i>.
+</p>
+<p class="stage">
+    (<i>They go down-stairs.</i>)
+</p>
+<p class="char">
+<i>Bellows</i> (<i>laughing</i>)
+</p>
+<p>
+She never lets him go to the cellar by himself.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Not a drinker, is he?
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Oh, no! The pattern of a deacon. But she keeps her hand on.
+</p>
+<p class="stage">
+    (<span class="sc">Seymour</span> <i>lights a cigar thinkingly.</i>)
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+No use to go over this case. It's clear enough. We'll have our
+cider&mdash;it's worth waiting for&mdash;then go to my office and fix up the
+commitment papers.
+</p>
+<p class="char">
+<i>Seymour</i> (<i>rubbing his hand slowly over his forehead</i>)
+</p>
+<p>
+To talk with such a patient sometimes bewilders the brain. He seemed so
+clear in his utterance&mdash;so rational&mdash;&mdash;
+</p>
+<p>
+<span class="pagenum"><a id="page23" name="page23"></a>[23]</span>
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Funny, wasn't he? I almost believed it myself for a minute.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+It might be true.
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Hey?
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Perhaps we are all somnambulists moving about in this dream-world we
+call practical life. Behind this tough matter that takes so many shapes
+and colors, what strange secrets are hidden, just beginning to reach our
+dull senses&mdash;X-rays, radium emanations, wireless waves.
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Oh, they're natural enough now. Common sense has adopted them.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Yes, we are easily satisfied. Give a mystery a name and that's enough
+for the most of us. But here and there are minds that must explore
+further; and if they discover something beyond the comprehension of us
+who stay behind, we call them mad.
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Well, none of your mind-puzzles for me. Give
+
+<span class="pagenum"><a id="page24" name="page24"></a>[24]</span>
+
+                                              me something clear cut,
+like typhoid, or measles, an amputation, or new babies, something I can
+fix my eyes on. You can take care of the madmen&mdash;except when they're
+in my own village. I'm not going to have a boy like Philo gibbering
+around ready to break out wild any time.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+It's true he may be led into frenzy, or even self-destruction, but it
+will be from overwork and loneliness. I must have a talk with the
+parents&mdash;&mdash;
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+What do you expect <i>them</i> to do? They're asking us for help. And <i>I'm</i>
+willing to give it to them.
+</p>
+<p class="stage">
+    (<i>Re-enter</i> <span class="sc">Warner</span> <i>and</i> <span class="sc">Mrs. W.</span> <i>He carries pitcher,
+    she carries tray with glasses.</i>)
+</p>
+<p class="char">
+<i>Seymour</i> (<i>to</i> <span class="sc">Bellows</span>)
+</p>
+<p>
+We'll see. As I say, the boy has been losing sleep, and giving his mind
+no rest.
+</p>
+<p class="char">
+<i>Mrs. W.</i> (<i>holding tray while</i> <span class="sc">Warner</span> <i>pours cider</i>)
+</p>
+<p>
+Just what I say, doctor. He's studied himself sick.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+You must get him out of here, Mrs. Warner. (<i>Sipping cider.</i>) Excellent,
+indeed!
+</p>
+<p>
+<span class="pagenum"><a id="page25" name="page25"></a>[25]</span>
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I'm doing my best.
+</p>
+<p class="char">
+<i>Warner</i> (<i>to</i> <span class="sc">Bellows</span>, <i>who has drained his glass</i>)
+</p>
+<p>
+You're at home, doctor. Just help yourself.
+</p>
+<p class="stage">
+    (<i>He does.</i>)
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+What is his age?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Twenty. He went early to college.
+</p>
+<p class="char">
+<i>Seymour</i> (<i>musingly</i>)
+</p>
+<p>
+The usual age. Twenty. (<i>Sighs.</i>) The age of visions and enchantments.
+"The thoughts of youth are long, long thoughts."
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+What are you saying, doctor?
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Just thinking. It's a healthy family, isn't it?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+I should say! Why, Will and Johnny and Alice&mdash;&mdash;
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Best sort. The thoroughbreds of the town. Temperate, thriving, regular
+at church. Warner here was once county supervisor. (<i>Clapping him on
+shoulder.</i>) Never had a better one.
+</p>
+<p>
+<span class="pagenum"><a id="page26" name="page26"></a>[26]</span>
+</p>
+<p class="char">
+<i>Seymour</i> (<i>to</i> <span class="sc">Warner</span>)
+</p>
+<p>
+And your parents?
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Father was a sound, practical man. Stood flat-footed, I may say.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+And your mother?
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Law me, Hiram Warner thinks there was never anybody in the world like
+his mother. And there never <i>was</i>!
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+That's good to build on. It is clear that your boy is ill, and the
+burden of his knowledge, whether truth or delusion, is far too great for
+him to bear. If you could interest him for even a brief time in ordinary
+life&mdash;(<i>smiling</i>) miracles that are too common to be disturbing&mdash;throw
+him with young people&mdash;&mdash;
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+You don't mean you won't sign the commitment papers!
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Just that. I shall not sign them.
+</p>
+<p class="char">
+<i>Mrs. W.</i> (<i>gratefully</i>)
+</p>
+<p>
+Oh, doctor!
+</p>
+<p>
+<span class="pagenum"><a id="page27" name="page27"></a>[27]</span>
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+After what you saw here with your own eyes? He's completely gone off!
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+The boy may be right. Under this tiny consciousness of ours lie vast
+fields of subconscious intelligence as yet unexplored. Beyond our earth
+are still greater mysteries, unimaginable, unthinkable.
+</p>
+<p class="char">
+<i>Bellows</i> (<i>in disgust</i>)
+</p>
+<p>
+And I counted on your common sense!
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Common sense is itself too frail and uncertain a thing to be a criterion
+of sanity. The common sense of yesterday is to-day's folly, and our
+present common sense will be the madness of to-morrow.
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Well, I'll be&mdash;I'll wait for you down-stairs, doctor. (<i>Exit.</i>)
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+The lad ought not to be in there alone. (<i>Goes to door.</i>) Philo, my boy!
+</p>
+<p class="stage">
+    (<span class="sc">Philo</span> <i>comes out. He is extremely pale, his black hair pushed
+    from his forehead, and his eyes burning, but his manner is calm.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Well, am I a free man?
+</p>
+<p>
+<span class="pagenum"><a id="page28" name="page28"></a>[28]</span>
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+You are free, Philo.
+</p>
+<p class="char">
+<i>Philo</i> (<i>perfunctorily</i>)
+</p>
+<p>
+Thank you, doctor.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+But you must have rest from this work. These subjects are too
+overwhelming for a sane brain to carry without harm. This attic is
+gloomy and the atmosphere unhealthy. You must have a complete change.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I see. That is your answer to my discovery. (<i>Turns suddenly to</i>
+<span class="sc">Warner</span>.) And what do you think of it, father?
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+I don't seem to get hold of it, somehow, Philo. (<i>Crosses to machine and
+stares at it.</i>) What's the good, anyhow? They're too far away.
+'Twouldn't help business.
+</p>
+<p class="stage">
+    (<span class="sc">Philo</span> <i>gives a queer laugh.</i> <span class="sc">Warner</span> <i>opens door.</i>)
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+I'll see you down-stairs, doctor. (<i>Exit.</i>)
+</p>
+<p class="char">
+<i>Philo</i> (<i>turning to</i> <span class="sc">Mrs. W.</span>)
+</p>
+<p>
+And you, mother?
+</p>
+<p>
+<span class="pagenum"><a id="page29" name="page29"></a>[29]</span>
+</p>
+<p class="char">
+<i>Mrs. W.</i> (<i>bustling up and gathering tray and glasses</i>)
+</p>
+<p>
+I've got to set my bread. (<i>Crosses to machine and stares at it, holding
+tray.</i>) What'll we come to if folks in the stars begin pesterin'? We've
+got enough to 'tend to right here. (<i>Goes out muttering.</i>) Got to set my
+bread.
+</p>
+<p class="stage">
+    (<span class="sc">Seymour</span> <i>and</i> <span class="sc">Philo</span> <i>look at each other and smile.</i>)
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Won't you come down, Philo?
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+No. It's livelier for me up here. More to think about. But don't worry
+about me, doctor. I know this is the end. If I can't convince you, then
+all the world must think it hallucination.
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+I'm not unconvinced. I simply don't know. And I'm deeply interested. But
+you can't stand it, Philo. Get out of this. Be young. This is for older
+heads. You'll have plenty of time. Get out&mdash;do anything. Fall in
+love&mdash;fall in love&mdash;that will give you mysteries enough for a while.
+Yes, I mean it&mdash;and don't forget, my dear boy, that you've interested
+me.
+</p>
+<p class="stage">
+    (<i>Shakes hands with</i> <span class="sc">Philo</span> <i>and goes down.</i>
+
+<span class="pagenum"><a id="page30" name="page30"></a>[30]</span>
+
+    <span class="sc">Philo</span> <i>listens until he has reached the foot of the stairs.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+The heavens open&mdash;the suns speak&mdash;and he is&mdash;interested! (<i>Closes
+door.</i>) Alone!... Fall in love! Light the candle and put out the
+stars!... (<i>Returns to his instrument.</i>) ... It is still.
+</p>
+<p class="stage">
+    (<i>Steps are heard on the stairs, then a knock at the door.
+    He crosses softly to door and shoots the bolt.</i>)
+</p>
+<p class="char">
+<i>Voice</i> (<i>without</i>)
+</p>
+<p>
+It's Reba, Philo! Won't you let me in?
+</p>
+<p class="stage">
+    (<i>He is silent, and steps retreat.</i>)
+</p>
+<p class="char">
+<i>Philo</i> (<i>crossing to centre</i>)
+</p>
+<p>
+Reba! That folly's done with, thank God!... (<i>Begins walking.</i>)
+Seymour.... I didn't know how much I was hoping from him.... It is hard,
+hard to go on alone. But I <i>must</i>! I can't turn back from that call.
+When a child cries we turn, and listen, and help. And this&mdash;<i>this</i> is
+the voice of a world!
+</p>
+<p class="stage">
+    (<i>A knock is heard at door.</i>)
+</p>
+<p class="char">
+<i>Voice of</i> <span class="sc">Warner</span>
+</p>
+<p>
+Philo!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Buzz, buzz, old bee!
+</p>
+<p>
+<span class="pagenum"><a id="page31" name="page31"></a>[31]</span>
+</p>
+<p class="char">
+<i>Voice</i>
+</p>
+<p>
+Come down, son!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Please leave me alone, father. I can't bear anything more to-night.
+</p>
+<p class="stage">
+    (<i>A pause, and</i> <span class="sc">Warner</span> <i>goes down.</i>)
+</p>
+<p class="char">
+<i>Philo</i> (<i>coming to table</i>)
+</p>
+<p>
+I will work&mdash;work&mdash;work! (<i>Busies his hands.</i>) Not a voice to help
+me&mdash;not a smile of hope&mdash;not a touch of sympathy. (<i>Sits still and
+despairing.</i>) ... Perhaps the time is not ripe for larger knowledge.
+Nature and the Divinity that guides her must protect their new evolving
+creatures. A too sudden revelation and they might perish from sheer
+wonder.... Yes, truth must come softened, as a dream, to the man child's
+brain. Its naked light would sere and blind him forever.... But to me it
+has been given to see&mdash;to hear&mdash;and keep sane in the light. Oh, from
+what planet is the call? From what one of the hundred million spheres?
+How many centuries has it been sent outward to the deaf, the dumb, and
+the blind? And what is the word? Is it Hail? Help? Hope?... Or is it an
+answer? An answer to some signal of mine? How shall I know?... How shall
+I know?
+</p>
+<p>
+<span class="pagenum"><a id="page32" name="page32"></a>[32]</span>
+</p>
+<p class="stage">
+    (<i>There is a noise outside the window.</i> <span class="sc">Philo</span> <i>does not look
+    up.</i> <span class="sc">Reba</span> <i>appears and leaps lightly through the windows.
+    Advances centre. Her dress is of clinging black, relieved by a floating
+    scarf of cloudy white. She has a mass of blonde hair, and all the charms
+    properly belonging to her age, which is eighteen.</i>)
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Philo!
+</p>
+<p class="char">
+<i>Philo</i> (<i>turning</i>)
+</p>
+<p>
+Reba!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Don't be angry.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+How did you get here?
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+The window. Don't you remember&mdash;you showed me how to climb up once&mdash;with
+a ladder&mdash;the tree&mdash;and the shed roof? Oh, the things you've forgotten,
+Philo!
+</p>
+<p class="stage">
+    (<i>He goes to door and unbolts it.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+You must go down, Reba. (<i>She does not move.</i>) What will mother say?
+</p>
+<p class="char">
+<i>Reba</i> (<i>laughing</i>)
+</p>
+<p>
+She held the ladder for me.
+</p>
+<p>
+<span class="pagenum"><a id="page33" name="page33"></a>[33]</span>
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Mother?
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+You've frightened her so. You mustn't bolt the door again. She's afraid
+you'll do something dreadful.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+You were not afraid to come.
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+I like to take risks. Life's dull in this village.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+How you've changed, Reba!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+It's taken you long enough to find it out. I've been back a month.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+You'd better go down. I'm very busy, and I've had a long interruption
+this evening.
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+I'm going to interrupt some more. Dr. Seymour says it's good for you.
+</p>
+<p class="char">
+<i>Philo</i> (<i>angrily</i>)
+</p>
+<p>
+Dr. Seymour knows you've come?
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Yes. He said you might like the surprise. Don't you like it, Philo?
+</p>
+<p>
+<span class="pagenum"><a id="page34" name="page34"></a>[34]</span>
+</p>
+<p class="stage">
+    (<i>Comes near him.</i> <span class="sc">Philo</span> <i>turns away and busies himself about
+    the table and shelves as if he meant to ignore her utterly.</i>
+    <span class="sc">Reba</span> <i>watches him, then goes to window and takes a large apple
+    from the ledge. Comes back.</i>)
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+I brought you an apple&mdash;such a love of an apple. There's a whole summer
+of sunsets in it. I climbed the tree myself.
+</p>
+<p class="char">
+<i>Philo</i> (<i>not looking</i>)
+</p>
+<p>
+Thank you; I don't eat.
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Don't eat! Well, there it is! (<i>Throws it on the table. He jumps to
+protect his instrument.</i>) You can <i>lick</i> it when you're hungry!
+</p>
+<p class="stage">
+    (<i>He sits down and begins to work. She walks to other side of table
+    and picks up a book.</i>)
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Oh! Our old "Swiss Family Robinson"! The very one we read together! With
+our names in it! You've kept it all the time! (<i>Hugging it.</i>) Dear old
+book! (<i>Turns the leaves.</i>) Why&mdash;the leaves are half gone!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+They're handy for cleaning my wires.
+</p>
+<p>
+<span class="pagenum"><a id="page35" name="page35"></a>[35]</span>
+</p>
+<p class="stage">
+    (<i>She throws the book down, and stands uncertain.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Going, Reba? Good night!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+No, I'm not going. This is my last chance. You'll bar the window
+to-morrow.
+</p>
+<p class="char">
+<i>Philo</i> (<i>determinedly</i>)
+</p>
+<p>
+Yes, I will.
+</p>
+<p class="stage">
+    (<i>He bends closely over his work. She lies across the table opposite,
+    watching his movements intently. He fumbles for a tool.</i>)
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+The little one? Here it is!
+</p>
+<p class="stage">
+    (<i>Hands him a small wire tool. He stares at her face so near his own,
+    then takes the instrument and works confusedly. Jumps up and tries to
+    reach a jar on one of the shelves.</i> <span class="sc">Reba</span> <i>leaps onto a chair,
+    takes the jar and hands it down. He stares, and takes jar.</i>)
+</p>
+<p class="char">
+<i>Reba</i> (<i>as he returns to table</i>)
+</p>
+<p>
+Ugh! These jars are so dirty, Philo. May I wash them for you?
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Heavens, no!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Oh, <i>that</i> makes you sit up! (<i>Hums a little,
+
+<span class="pagenum"><a id="page36" name="page36"></a>[36]</span>
+
+                                              leaps down and begins to
+move the things on the table.</i>) I'll make the table tidy for you, Philo.
+</p>
+<p class="char">
+<i>Philo</i> (<i>grabbing her hands</i>)
+</p>
+<p>
+Stop!
+</p>
+<p class="char">
+<i>Reba</i> (<i>sings, swinging his hands across the table</i>)
+</p>
+<p>
+"All around the mulberry bush&mdash;&mdash;"
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Let go!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Why, you're holding <i>me</i>!
+</p>
+<p class="stage">
+    (<i>He drops her hands and goes to window, as if intending flight.
+    She becomes subtle.</i>)
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Dr. Seymour says you've done something wonderful, Philo. Won't you show
+me your machine?
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+No.
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+But I <i>care</i>! I care more than anybody! I <i>want</i> you to be great. I
+could sit by you all my life just watching you being great.
+(<span class="sc">Philo</span> <i>smiles. She twirls over to him.</i>) And I don't <i>like</i> to
+be still, either.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+But suppose people began to laugh at you as they do at me?
+</p>
+<p>
+<span class="pagenum"><a id="page37" name="page37"></a>[37]</span>
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+I wouldn't care. Show me the machine, Philo.
+</p>
+<p class="stage">
+    (<i>Takes his arm and they move back to table.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+There it is.
+</p>
+<p class="char">
+<i>Reba</i> (<i>hovering over it</i>)
+</p>
+<p>
+This is it. (<i>Throwing her head back.</i>) Tell me about it.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Reba&mdash;your throat is&mdash;so white.
+</p>
+<p class="char">
+<i>Reba</i> (<i>bending suddenly over machine</i>)
+</p>
+<p>
+There's something moving.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+So white.
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Two&mdash;one&mdash;two, three&mdash;&mdash;
+</p>
+<p class="stage">
+    (<span class="sc">Philo</span> <i>goes to door and flings it open.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Reba, go down!
+</p>
+<p class="stage">
+    (<i>She crosses to door, shuts it, and stands with her back against it.</i>)
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Not till we've had a talk, Philo. I've a right to it after what you said
+two years ago&mdash;when I went away to school. Have you forgotten it? Shall
+I tell you what you said?
+</p>
+<p>
+<span class="pagenum"><a id="page38" name="page38"></a>[38]</span>
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+No!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+You said you loved me, Philo. And I believed it for two years. When I
+came back you were silent. I've tried to make you speak&mdash;I've got in
+your way&mdash;I've done everything nice girls don't do&mdash;because&mdash;I love you
+as much as you love <i>that</i>! (<i>Waves her hand toward the machine.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Don't say it. It can't be true. No woman could love so much as that.
+(<i>Goes back to table.</i>)
+</p>
+<p class="char">
+<i>Reba</i> (<i>following him</i>)
+</p>
+<p>
+I don't ask you to love me. But let me come here and sit by you
+sometimes. I could be happy then&mdash;though I don't <i>like</i> to be still.
+I was going to a dance to-night.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+A dance!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+But I knew you were up here alone&mdash;and I had heard&mdash;oh, my dear!&mdash;that
+they were going to send you away. I couldn't bear it. I <i>had</i> to come.
+Oh, Philo, they shall not send you away! Dr. Seymour says all you need
+is a new interest.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+To dance, perhaps!
+</p>
+<p>
+<span class="pagenum"><a id="page39" name="page39"></a>[39]</span>
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Well&mdash;why not? It is fun. We were to be in fancy dress, and I was going
+as Night. See&mdash;(<i>waving her scarf</i>) this is my cloud&mdash;and my hair is the
+moon! I washed it to-day so it would be fluffy. Just see how soft it is!
+</p>
+<p class="char">
+<i>Philo</i> (<i>touching her hair</i>)
+</p>
+<p>
+How fine! Will you give me a lock, Reba?
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Oh, yes! Where are your scissors? Here! (<i>Takes scissors from table.</i>)
+You cut it, Philo. (<i>He takes scissors.</i>) Anywhere. It's curly at the
+neck and temples.
+</p>
+<p class="char">
+<i>Philo</i> (<i>cutting lock</i>)
+</p>
+<p>
+I don't want a curl. (<i>Puts hair carefully in table drawer.</i>) I'm making
+a new machine and I need long hairs for some of the parts.
+</p>
+<p class="char">
+<i>Reba</i> (<i>raging</i>)
+</p>
+<p>
+You sha'n't have it! You sha'n't!
+</p>
+<p class="stage">
+    (<i>Tries to open drawer. They struggle. She gets her arms about his
+    neck.</i>)
+</p>
+<p class="char">
+<i>Philo</i> (<i>pushing her off</i>)
+</p>
+<p>
+Your throat&mdash;&mdash;
+</p>
+<p class="stage">
+    (<i>Kisses it. She clings to him, and he sits down, holding her on his
+    knee.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page40" name="page40"></a>[40]</span>
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+I knew! I knew! Oh, Philo, you <i>haven't</i> forgotten! You
+remember&mdash;everything!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Everything!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+That day we went fishing and&mdash;&mdash;
+</p>
+<p class="char">
+<i>Philo</i> (<i>laughing</i>)
+</p>
+<p>
+Forgot the tackle!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+And that last evening in the orchard, when you said&mdash;&mdash;
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I love you!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Oh, you look just as you did then&mdash;so happy! I nearly died when I came
+home and saw the change in your face. It seemed to shut me out, like a
+great iron door. Philo.... You won't forget again?
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Never!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+And I may come every day?
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Every day!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+I'll help you, Philo. I'll give you all my hair.
+
+<span class="pagenum"><a id="page41" name="page41"></a>[41]</span>
+
+                                                  (<i>Lays her head on his
+shoulder.</i>) And I'll let you work and not think of me at all. You can
+live with your stars&mdash;&mdash;
+</p>
+<p class="char">
+<i>Philo</i> (<i>kissing her</i>)
+</p>
+<p>
+There are no stars!
+</p>
+<p class="char">
+<i>Reba</i> (<i>laughing</i>)
+</p>
+<p>
+I'll never be jealous again! (<i>Gets up.</i>) Come! Let's see what the dinky
+thing is doing!
+</p>
+<p class="stage">
+    (<i>Goes to table.</i> <span class="sc">Philo</span> <i>watches her, slowly repeating
+    her name.</i>)
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+What a little thing it is! And&mdash;there <i>is</i> something fluttering!
+</p>
+<p class="stage">
+    (<span class="sc">Philo</span> <i>crosses, still seeing nothing but the girl.</i>)
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+See&mdash;I'm trying to count&mdash;two&mdash;three&mdash;&mdash;
+</p>
+<p class="stage">
+    (<i>He looks down, and becomes transfixed.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Oh, my God! They've changed the signal!... Look, Reba! Count the beats!
+Count for me! Count!
+</p>
+<p class="char">
+<i>Reba</i> (<i>confused</i>)
+</p>
+<p>
+Two&mdash;three&mdash;no, four&mdash;&mdash;
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Can't you <i>count</i>? Get away! (<i>Pushes her
+
+<span class="pagenum"><a id="page42" name="page42"></a>[42]</span>
+
+ aside.</i>) Two&mdash;three&mdash;four&mdash;three&mdash;
+They have <i>changed</i> it! Oh, I must answer!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Philo&mdash;&mdash;
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Go down!
+</p>
+<p class="char">
+<i>Reba</i> (<i>clinging to him</i>)
+</p>
+<p>
+I won't&mdash;I won't&mdash;&mdash;
+</p>
+<p class="char">
+<i>Philo</i> (<i>putting her in a chair</i>)
+</p>
+<p>
+Sit there, then. And for God's sake be still! (<i>Returns to machine and
+counts under his breath.</i>) It is true&mdash;it is true&mdash;and I am not ready! I
+am dumb, like all the world! I cannot let them know! (<i>Walks the floor,
+muttering</i>) But I will&mdash;I must. (<i>Crosses to window.</i>) I must do
+it!&mdash;think of nothing else&mdash;nothing! I shall not sleep till it is
+done!... But they will call me mad&mdash;lock me up before I have finished,
+God, before I have finished!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Philo, listen!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+It's the world's way ... to beat the spirit down ... the eager spirit,
+superbly sane, daring to pierce the barriers between heaven and earth!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+I'll not sit here! (<i>She sits nevertheless.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page43" name="page43"></a>[43]</span>
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Oh, Truth-driven martyrs, seers of visions, prophets of the old world
+and the new, born out of your time to suffer by fire, by sword, and
+prison bars!
+</p>
+<p class="char">
+<i>Reba</i> (<i>cooingly</i>)
+</p>
+<p>
+Dear Philo!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I too shall join you! Forerunners of the waking spirit of the world!
+</p>
+<p class="stage">
+    (<span class="sc">Reba</span> <i>gets before him as he walks. Completely absorbed,
+    he puts her aside, absently but gently, as if she were a kitten he
+    did not wish to hurt.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I must finish it&mdash;I must&mdash;before they beat me down! (<i>Pauses by
+machine.</i>) There is no one but me to do it. If I fail they may have
+to wait another million years&mdash;out there&mdash;working, waiting. (<i>Resumes
+walk.</i>) I shall not fail. I have gone too far. God will take my part
+now. Be it His own eternal sign, I will answer it!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+I'll make you see me!
+</p>
+<p class="stage">
+    (<i>Runs to table, leaps upon it and begins a dance among the wires
+    and bottles. He is stunned
+
+<span class="pagenum"><a id="page44" name="page44"></a>[44]</span>
+
+     for a moment, then rushes to her, seizes
+    her waist with both hands, lifts her up, and flings her to a chair.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Sit there, you dragon-fly! Or I'll crush you! (<i>Goes to window, as if
+for breath and air. Recovers poise.</i>) Let them think me mad. Up here I
+shall work it out. And I shall not be alone. Earth will not hear me, but
+the heavens will listen. (<i>Holds his hands toward the stars.</i>) My only
+friends!
+</p>
+<p class="char">
+<i>Reba</i>
+</p>
+<p>
+Crush me! (<i>She steals up to the table, seizes a large book, and brings
+it down with utter destruction upon his machine.</i> <span class="sc">Philo</span> <i>turns
+and sees. They face each other. She shrinks, terrified.</i>) Don't, Philo!
+(<i>Kneels, throwing back her head, showing the long line of her throat.</i>)
+Forgive me! It was driving you mad! I wanted to save you! Don't look
+like that! Forgive me, Philo!
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Your throat&mdash;is&mdash;so white!
+</p>
+<p class="stage">
+    (<i>Seizes and chokes her. As he seizes her she gives a cry of terror.</i>
+    <span class="sc">Warner</span>, <span class="sc">Mrs. W.</span>, <span class="sc">Seymour</span>, <i>and</i>
+    <span class="sc">Bellows</span> <i>rush up the stairs and enter.</i> <span class="sc">Philo</span> <i>takes
+    his hands from the
+
+<span class="pagenum"><a id="page45" name="page45"></a>[45]</span>
+
+                       girl's throat and stands apart.  She lies
+    motionless.</i>)
+</p>
+<p class="char">
+<i>Warner</i> (<i>roaring</i>)
+</p>
+<p>
+You've managed, Mary Ann!
+</p>
+<p class="char">
+<i>Bellows</i> (<i>excitedly</i>)
+</p>
+<p>
+Who's right, now, Seymour?
+</p>
+<p class="stage">
+    (<span class="sc">Seymour</span> <i>bends over</i> <span class="sc">Reba</span>, <i>listening for her heart-beat.</i>)
+</p>
+<p class="char">
+<i>Warner</i> (<i>choking</i>)
+</p>
+<p>
+A hanging in the family!
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+Is she&mdash;dead?
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+No. It is chiefly fear. (<i>Works over her body.</i>)
+</p>
+<p class="char">
+<i>Philo</i> (<i>to himself</i>)
+</p>
+<p>
+Poor little bird! Poor little bird!
+</p>
+<p class="char">
+<i>Bellows</i> (<i>taking a pair of handcuffs from his pocket and offering them
+to</i> <span class="sc">Warner</span>)
+</p>
+<p>
+Better clap these on him. We're none of us safe.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Handcuffs, doctor? I'll make no trouble.
+</p>
+<p class="stage">
+    (<i>Holds out his hands and</i> <span class="sc">Bellows</span> <i>fastens handcuffs.</i>)
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+It's for your own good, Philo.
+</p>
+<p>
+<span class="pagenum"><a id="page46" name="page46"></a>[46]</span>
+</p>
+<p class="char">
+<i>Seymour</i>
+</p>
+<p>
+Our mistake&mdash;our mistake! Poor boy!
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Poor <i>girl</i>, I should say!
+</p>
+<p class="char">
+<i>Seymour</i> (<i>lifting</i> <span class="sc">Reba</span>)
+</p>
+<p>
+I'll take her down-stairs. (<i>Carries her to door.</i>) I shall need you,
+Mrs. Warner.
+</p>
+<p class="stage">
+    (<span class="sc">Mrs. W.</span> <i>follows, weeping and looking back at</i> <span class="sc">Philo</span>.)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I'm all right, mother.
+</p>
+<p class="char">
+<i>Mrs. W.</i>
+</p>
+<p>
+<i>All right.</i> Oh, God help him! (<i>Exit.</i>)
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+Clean mad!
+</p>
+<p class="char">
+<i>Philo</i> (<i>crosses, and looks down on the wreck of his machine</i>)
+</p>
+<p>
+Silent ... but I have heard! The divine whisper has reached me!
+</p>
+<p class="char">
+<i>Bellows</i>
+</p>
+<p>
+That's still on his mind, you see. Better leave him up here till
+morning. Seymour and I will fix up the papers and take him off
+to-morrow. I'm sorry, Philo, but you know it's for the best.
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+I'll make no trouble. Don't worry, doctor.
+</p>
+<p>
+<span class="pagenum"><a id="page47" name="page47"></a>[47]</span>
+</p>
+<p class="char">
+<i>Bellows</i> (<i>to himself, going</i>)
+</p>
+<p>
+Lord, he's cool! (<i>Advising</i> <span class="sc">Warner</span>, <i>in cautiously lowered
+tone.</i>) That's the way with the worst of them. (<i>Exit.</i>)
+</p>
+<p class="char">
+<i>Warner</i>
+</p>
+<p>
+Want me to stay with you, Philo?
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+No, father.
+</p>
+<p class="char">
+<i>Warner</i> (<i>relieved</i>)
+</p>
+<p>
+Good night, son. (<i>At door.</i>) Mother'll send up some blankets. (<i>Exit.</i>)
+</p>
+<p class="char">
+<i>Philo</i>
+</p>
+<p>
+Blankets!...
+</p>
+
+<p class="center">
+(CURTAIN)
+</p>
+
+<p>
+<span class="pagenum"><a id="page48" name="page48"></a>[48]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p>
+<span class="pagenum"><a id="page49" name="page49"></a>[49]</span>
+</p>
+
+<a name="h2H_4_0005" id="h2H_4_0005"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    THE JOURNEY
+</h2>
+<h3>
+    BY
+<br />
+<span class="sc">Olive Tilford Dargan</span>
+</h3>
+
+<p>
+<span class="pagenum"><a id="page50" name="page50"></a>[50]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    CHARACTERS
+</h2>
+
+<p>  <span class="sc">Princess Wong Fe</span>, <i>bride of Yu Tai Shun</i></p>
+<p>  <span class="sc">So Siu</span>, <i>her friend</i></p>
+<p>  <span class="sc">Prince Ching</span></p>
+<p>  <span class="sc">Makuro</span>, <i>of Japan</i></p>
+<p>  <span class="sc">Yu Tai Shun</span>, <i>of all nations</i></p>
+
+<p>
+<span class="pagenum"><a id="page51" name="page51"></a>[51]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    THE JOURNEY
+</h2>
+<p class="scene">
+<span class="sc">Scene</span>: <i>Room in a farmhouse above Siangtan, where the Siang
+    flows among hills. The rear of room has wide exit to a porch,
+    beyond which show the tops of pear and peach trees in full bloom.
+    Steps lead down to the orchard, and the orchard slopes to the river.</i>
+</p>
+<p class="stage">
+    <span class="sc">Wong Fe</span> <i>and</i> <span class="sc">So Siu</span> <i>present.</i>
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+My lily So Siu, has not the dishonorable color left my wretched cheeks?
+Is not my face like the dough before it goes into the oven?
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+Oh, my golden Fe, pearls in the dawn are no fairer!
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+But these cow-girl's tatters! Would not my gown of meadow-green mist
+with the peach-gold underrobe make me less haggard?
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+When your lord, Yu Tai Shun, returns from the hills he will say&mdash;&mdash;
+</p>
+<p>
+<span class="pagenum"><a id="page52" name="page52"></a>[52]</span>
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+Oh, what will he say?
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+That the fairies have been your friends. They wove for you this robe of
+rose-leaves, and threw over you a gray cloud from the Witch's Mountain.
+</p>
+<p class="stage">
+    (<span class="sc">Wong Fe</span> <i>trips gaily, then with sudden surrender begins to weep.</i>)
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+Have no shame, beloved of miserable So Siu. Water must follow the fire.
+I am only a maid, but I know that when the honeymoon is without tears
+two pigs have married. Ah, wet my sleeve, my dear one, and not thine
+that will lie on the neck of the golden lord, Yu Tai Shun.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+When I awoke this morning the sunlight was on my pillow, but Yu Tai Shun
+was gone. All day I have not seen his face. And now the last swallow has
+left the sky.
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+Why did Prince Ching and the young Japanese choose this day to be guests
+of Yu Tai Shun? It is sad for the wife when the friends of her lord find
+her alone. Yu Tai Shun will beat his doorstep for not calling him.
+</p>
+<p>
+<span class="pagenum"><a id="page53" name="page53"></a>[53]</span>
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+He will! Prince Ching is almost his father. May his age climb as the
+hills, always nearer the sky!
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+Indeed, you would be sitting alone in a cloud of sighs, not fast wedded
+to the bringer of dawn, Yu Tai Shun, if Prince Ching had not won his way
+to your brothers, the mighty princes, Wong Li and Wong Sen.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+I kiss his honorable dust! He shall live with my ancestors! And Makuro,
+the young Japanese, I shall love him too, for he is most dear to Yu Tai
+Shun. Do they still sit in the orchard?
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+They have not moved, nor paused in their talking. Do you not hear? Like
+bees that cannot choose their flower. It may be that they have brought
+news to Yu Tai Shun, and his gloom will pass.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+No, I feel it was their coming, like a far cloud, that shadowed him. Oh,
+my So Siu, it will be darker now!
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+I have sent tea and cakes to the orchard.
+</p>
+<p>
+<span class="pagenum"><a id="page54" name="page54"></a>[54]</span>
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+It shall not be dark. Do not the fairies of the sun weave a white world
+out of the threads of midnight? I will pray to them. We must be merry,
+my lily So Siu.
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+And why not?
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+I shall dance to-night before Yu Tai Shun. (<i>Tripping.</i>) Is it not good
+to have feet? My honorable and glorious mamma weeps when I dance, but it
+is because she was born too soon and they crippled her beloved feet.
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+How glad I am that the old world is gone when only the painted
+flower-girls could do the happy things!
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+And it was my own lord, Yu Tai Shun, who made the earth new again!
+</p>
+<p class="stage">
+    (<i>She listens, suddenly still.</i>)
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+He is here!
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+My darling So Siu....
+</p>
+<p class="char">
+<i>So Siu</i>
+</p>
+<p>
+I go! (<i>Darts from room, right.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page55" name="page55"></a>[55]</span>
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+I would be dancing, but I cannot move. There are anchors of fear on my
+toes.
+</p>
+<p class="stage">
+    (<i>Enter</i> <span class="sc">Yu Tai Shun</span>, <i>left. He is dressed in gray flannels, of American pattern.</i>)
+</p>
+<p class="char">
+<i>Shun</i> (<i>stopping before</i> <span class="sc">Wong Fe</span>)
+</p>
+<p>
+I left a witch-cloud on the hills, and it has dropped down before me.
+</p>
+<p class="stage">
+    (<i>She courtesies to the floor. He snatches her up.</i>)
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+No! I want my Western bride to-night.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+But this is a Chinese orchard, and it is springtime. Let me worship a
+little.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Never, my mountain bird!
+</p>
+<p class="stage">
+    (<i>Draws her to the steps, where they sit.</i>)
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+You are weary, beloved?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Not now. I have my rest. To-morrow you shall go with me.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+Up the mountain?
+</p>
+<p>
+<span class="pagenum"><a id="page56" name="page56"></a>[56]</span>
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+I will show you where I dropped the storm in my heart.
+</p>
+<p class="char">
+<i>Wong Fe</i> (<i>timidly</i>)
+</p>
+<p>
+Will it come again, Yu Tai Shun?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Nothing can wake it again.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+Then indeed I am your bride!
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Heart of my body art thou, Wong Fe!
+</p>
+<p class="stage">
+    (<i>Holds her to his breast a moment, looking distantly out. Suddenly
+    sees his friends approaching.</i>)
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+We have guests?
+</p>
+<p class="char">
+<i>Wong Fe</i> (<i>quickly springing up</i>)
+</p>
+<p>
+Forgive me! Your friends are here. Prince Ching, and Makuro, from Japan.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Makuro?
+</p>
+<p class="stage">
+    (<i>He throws up his right hand. In a moment</i> <span class="sc">Prince Ching</span> <i>and</i>
+    Makuro <i>are seen advancing from the orchard</i>.)
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+They have had my welcome. I leave you. (<i>Crosses to right,
+reluctantly.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page57" name="page57"></a>[57]</span>
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Return to us soon, my gold of the morning.
+</p>
+<p class="stage">
+    (<i>She goes out</i>. <span class="sc">Ching</span> <i>and the Japanese enter.</i>)
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+We have waited, Yu Tai Shun. We knew that the setting sun would turn a
+bridegroom home.
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+Master!
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+My friend! What brings you to China?
+</p>
+<p class="char">
+<i>Makuro</i> (<i>with steady gaze</i>)
+</p>
+<p>
+You know. I have come for you.
+</p>
+<p class="char">
+<i>Shun</i> (<i>stubbornly, as if chidden</i>)
+</p>
+<p>
+My work is done. China is free.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+Her slavery is only beginning. You may hide your body but you cannot
+bury your mind under peach-blossoms.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+The republic is established.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+But not a democracy.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+My work is done. Twenty years have I given to the cause of the people.
+Now until I die I will toil and sing in the fields of my fathers.
+</p>
+<p>
+<span class="pagenum"><a id="page58" name="page58"></a>[58]</span>
+</p>
+<p class="stage">
+    (<i>They have gradually come to centre of room, which servants have
+    lighted</i>. <span class="sc">Wong Fe</span> <i>silently returns, but at a sign from</i>
+    <span class="sc">Ching</span> <i>she retreats and remains by wall, right, participating
+    in the scene that follows, though</i> <span class="sc">Yu Tai Shun</span> <i>and</i>
+    <span class="sc">Makuro</span> <i>are unaware of her presence.</i>)
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+Do you remember when I stood here once before, Yu Tai Shun?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Can you ask me that, Makuro?
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+Why not, when you seem to have forgotten all that passed between us? I
+went from that meeting with an imperishable fire in my heart. I return,
+and the light that kindled mine is dark. We stood here, and the words
+you spoke were brighter than the lamps of Siangtan that we looked down
+upon. Shall I repeat them, Yu Tai Shun?
+</p>
+<p class="stage">
+    (<i>Shun is silent.</i>)
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+I would hear them, Makuro.
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+The master said: "Forty centuries has China been content to plough, to
+sow, to reap, and with
+
+<span class="pagenum"><a id="page59" name="page59"></a>[59]</span>
+
+                       her harvest support one-quarter of the human lives
+on our planet. Drudgery has been her lot, frugality her virtue. Only so
+had she lease of breath. Now she is to unlock her mines, build ships,
+and roads of commerce, and with the magic of machinery set her people
+free. If that magic is owned by a few, there will be no freedom, but
+a slavery whose agony no man can tell. Every owner will be a monarch
+greater than the Son of Heaven to whom we bowed. We cannot shut them out
+by war. We can do it solely by making China a true democracy where the
+people themselves own the magic tools and the great ways to the markets.
+To do this is the work of all who love Freedom, and I know no other
+goddess." Were these your words, Yu Tai Shun?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Yes ... my words.
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+That was five years ago. From all parts of the earth come powers
+fulfilling your fear. Leagued with our own purblind princes and dwellers
+in the dusk, they hover over China, waiting for war and bribery to
+dismember her. And you say your work is done. Yu Tai Shun, where have
+you buried my master?
+</p>
+<p>
+<span class="pagenum"><a id="page60" name="page60"></a>[60]</span>
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+In the heart of the Princess Wong Fe.
+</p>
+<p class="char">
+<i>Shun</i> (<i>rallying</i>)
+</p>
+<p>
+May we not be too stern in our judgment of the lords of steam and iron?
+Lei Kung Sang and the British minister of the So-nan mineral beds have
+built houses for the people.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+And have taken their land. Men who plucked their own fruit, and took
+food from their own gardens, now cannot eat until they have torn new
+treasure out of the earth for the kind Briton and the good Lei Kung
+Sang.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Their days of work were always long and weary.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+But they toiled as free men in the sun, and as free men sang from the
+river-boats when the moon rose. In America, where there is still much
+land and few people, there are places where children go down into the
+mines and never see the sun except on the day they call "holy." How will
+it be with China's four hundred millions, when there are not even waste
+places where those who would flee may gather? For even her great
+untilled spaces are being covered by the foreign hand.
+</p>
+<p>
+<span class="pagenum"><a id="page61" name="page61"></a>[61]</span>
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+Slavery will be born again with depths the ancients never knew.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+But the spirit of brotherhood is growing.
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+Power has no brothers! It was you who taught me that, Yu Tai Shun.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Do you forget that we built our republic with the aid of these same
+princes of power?
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+We forget nothing. They let us beat down the throne because they could
+not use it&mdash;a rigid tradition&mdash;but the republic&mdash;<i>they</i> are the
+republic!
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Can we not trust a little? In our greatest need, alien hands have
+reached out to help us. And we have true hearts among our Chinese
+lords. Not all have joined with the invader to herd the people into
+slave-yards. Pei Chen-Ping and Sa Yi are most liberal. You, Prince
+Ching, and those you gather to you, have hearts like the rising sun. And
+the noble princes of the house of Wong&mdash;have they not given me my bride?
+</p>
+<p>
+<span class="pagenum"><a id="page62" name="page62"></a>[62]</span>
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+Ay, when your sighs had blown around the world for seven years, they
+yielded her. You were a power to be checked, and they set a woman in
+your path.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+No!
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+It was a Japanese from the Fushun collieries, a Russian prince of the
+Northern railways, a French buyer of Yunnan copper, a British ship-baron
+of Hongkong, and the Chinese owners of the unworked gold veins of
+Szechuan, who went to the brothers of Wong Fe and said: "Give Yu Tai
+Shun his bride."
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+It was you who spoke for me!
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+You had no father, and in my heart you were my son. I spoke for you
+because I believed in you. I did not think that any bribe could lure you
+from us. Yours was a soul that we thought would be a torch to every
+nation of earth. And you choose to go out like a candle in the breath of
+a woman.
+</p>
+<p class="stage">
+    (<span class="sc">Yu Tai Shun</span> <i>is bowed and silent.</i> <span class="sc">Makuro</span> <i>touches
+    his sleeve.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page63" name="page63"></a>[63]</span>
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+Come with us, master.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+In half an hour the boat will stop at the orchard pier for Makuro. He
+starts for Japan. It is there you are needed.
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+I come from our friends with their summons. Japan's oligarchy of
+traders, with every means known to power&mdash;school, religion, racial pride
+and hate&mdash;is fostering the spirit of war. All the seeds of the jungle
+are being deliberately sown once more in men's hearts. They are
+preparing Japan to hold the largest share of an industrially broken
+China and weld her millions into one instrument of hate against the
+West.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+A pigmy's dream!
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+A dream that will come true if our giants continue to sleep.
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+It is the menace of America that Japan holds before her people till
+their hearts roll with fear, their brains grow sick with rage. America,
+who has insulted us with exclusion&mdash;who has snatched
+
+<span class="pagenum"><a id="page64" name="page64"></a>[64]</span>
+
+                                                      an island chain
+from our Eastern waters, and shot, starved, imprisoned thousands
+ignorant enough and brave enough to resist her. <i>That</i> is the America my
+people are taught to believe in. But you know a different America, where
+people love honor and hate war&mdash;whose religion is love thy neighbor as
+thyself. Come, teach them of that America! You are known in a million
+homes of Japan. You have taught us to love you, and where we love, we
+listen.
+</p>
+<p class="char">
+<i>Shun</i> (<i>with great effort</i>)
+</p>
+<p>
+I cannot go. If I part from Wong Fe the blood will leave my veins and
+flow back to her.
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+Then take her with you.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+You know what this journey means.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+Yes, you must go free. With such a weight you would be useless. I will
+take Wong Fe to her brothers.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+I shall hold her forever!
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+You think joy can last so long? (<i>To</i> <span class="sc">Makuro</span>, <i>shrugging.</i>) A
+boy yet!
+</p>
+<p>
+<span class="pagenum"><a id="page65" name="page65"></a>[65]</span>
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+In Japan you have my young scholar, Onoto. All my knowledge I have given
+him. In his heart is my purpose, his eyes hold my vision.
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+Onoto!
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+His years are younger, his flame will leap higher. I am only one who
+fails you. In every nation our numbers are growing. Do not fear for
+humanity. Our brothers are everywhere.
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+You say Onoto?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+He has the gift of the shining word&mdash;the word that draws the heart as a
+full moon at sea draws the eye. I can turn my back on the world and rob
+it of nothing, for I have given it Onoto.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+How long have you been chirping here like a cricket under a leaf, with
+no news from the roadside?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+It is three weeks to-day since I brought Wong Fe to the door of my
+fathers.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+Three weeks! On the very day of your joy Onoto was thrown into prison.
+</p>
+<p>
+<span class="pagenum"><a id="page66" name="page66"></a>[66]</span>
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+They would not dare!
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+They did dare.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+In prison&mdash;Onoto!
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+No, he is not now in prison.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Free?
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+The enmity of the powers was bitter. Everywhere he was sowing the seed
+of peace. In many a house the ancestral sword was broken at his bidding.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+But he is free?
+</p>
+<p class="char">
+<i>Makuro</i>
+</p>
+<p>
+Yesterday (<i>glances out at the stars</i>), at this hour, he was shot.
+</p>
+<p class="char">
+<i>Shun</i> (<i>slowly comprehending</i>)
+</p>
+<p>
+Then I have been twenty-four hours dead.
+</p>
+<p class="stage">
+    (<i>He steps uncertainly out to the little porch. They gaze at the floor,
+    respecting his grief</i>. <span class="sc">Wong Fe</span> <i>makes a motion to follow him.</i>
+    <span class="sc">Ching</span> <i>stops her with a gesture, and she shrinks back.</i> <span class="sc">Yu
+    Tai Shun</span> <i>re-enters.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page67" name="page67"></a>[67]</span>
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Your mercy, friends. (<i>Crosses left, to exit.</i>)
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+You will go with us now?
+</p>
+<p class="char">
+<i>Shun</i> (<i>turns and hurls the word</i>)
+</p>
+<p>
+No!
+</p>
+<p class="stage">
+    (<i>An instant of silence follows his exit, then</i> <span class="sc">Wong Fe</span> <i>comes
+    forward.</i>)
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+Peace to your hearts, honorable friends of Yu Tai Shun! He will depart
+with you.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+Not yet. We must wait. Invisible chains cannot be broken. But they will
+disunite of themselves. Then he will come.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+I will send him with you to-night.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+<i>You</i> send him?
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+Do you think I will divide his life so that the two halves can bear no
+fruit? That I will wait until he hates me for that ruin?
+</p>
+<p class="char">
+<i>Ching</i> (<i>with laughter</i>)
+</p>
+<p>
+Hates you, oh princess!
+</p>
+<p>
+<span class="pagenum"><a id="page68" name="page68"></a>[68]</span>
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+Wait till I must glean in his heart behind a spent passion?&mdash;like a poor
+widow in the track of a grain-cart?
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+The coral of your lips will defeat their command, Wong Fe. Near you he
+is a dry fagot seized by a flame.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+I tell you he will go! Wait in the orchard until you hear the first
+whistle of the boat. Then come for him. He will be ready. Go, honorable
+friends! He is returning.
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+It is useless. Your words may bite like winter, but his eyes will see
+only the Spring morning.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+Go, I beg you, go!
+</p>
+<p class="stage">
+    (<i>They pass out down the steps of porch.</i> <span class="sc">Wong Fe</span> <i>hurries to a
+    small table, opens a lacquered box and takes from it a stiletto, which
+    she hides in the folds of her sleeve. She is dancing as</i> <span class="sc">Yu Tai
+    Shun</span> <i>enters, and sings as she dances.</i>)
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   The thousand odors of Spring </p>
+<p class="i2">   Are the thousand arms of love. </p>
+<p>
+<span class="pagenum"><a id="page69" name="page69"></a>[69]</span>
+</p>
+<p class="i2">   They find thee in the valleys, </p>
+<p class="i2">   On the crest of the hills they reach thee; </p>
+<p class="i2">   Till Spring bear no fragrance </p>
+<p class="i2">   Thou canst not escape them, </p>
+<p class="i2">   The thousand arms of love! </p>
+</div>
+<div class="stanza">
+<p class="i2">   The orchard pool is a pillow, </p>
+<p class="i2">   A pillow for the twin lotus, </p>
+<p class="i2">   And the wings of the flying geese </p>
+<p class="i2">   Are warm in the air of heaven; </p>
+<p class="i2">   They drop to the shadowy lake-sedge, </p>
+<p class="i2">   For sweet looks the earth from the roads of the sky, </p>
+<p class="i2">   And in heaven are no cool grasses. </p>
+</div>
+<div class="stanza">
+<p class="i2">   Ever listening </p>
+<p class="i2">   Are the leaves of the slim dryanda, </p>
+<p class="i2">   Whose heart is the harp of the Spring-wind. </p>
+<p class="i2">   A dryanda-tree is my lover, </p>
+<p class="i2">   And my thoughts are the leaves that listen. </p>
+<p class="i2">   Autumn, Autumn, touch not my leaf-thoughts! </p>
+<p class="i2">   Cast them not down when the pool is grey, </p>
+<p class="i2">   And the teal no more sail two and two </p>
+<p class="i2">   With their breasts above one shadow. </p>
+</div>
+</div>
+
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Come to me, Wong Fe! I feel that you have blown through my door like a
+rose petal, and will
+
+<span class="pagenum"><a id="page70" name="page70"></a>[70]</span>
+
+ drift away again, leaving me not a footprint to kiss.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+Neither in life nor in death shall I leave you, my lord. Though I seem
+to die, and these graces that please you fall to earth like
+willow-blossoms, it is not I that will lie on the sand.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Why do you speak of death, Wong Fe?
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+Because I am so happy. The sages say that we can have no fairer fortune
+than to die in our happiest moment.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Do not speak of death. The word blisters the air, though your lips be as
+two drops of June rain.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+But how sweet to die when I am fairest in your eyes! Every year, at this
+time, you would walk down the peach-flower lanes and recall the glow of
+my cheek. Oh, Heaven, let me not be a faded wife in the blooming time of
+the year!
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Thy soul, Wong Fe, is the flower of my worship.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+And death would give my soul wholly to you.
+
+<span class="pagenum"><a id="page71" name="page71"></a>[71]</span>
+
+ I should be near you always.
+Then morning would not call you to the peaks, leaving me behind in the
+tear-dew.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+To-morrow we shall go together. Your shadow will be with mine on the
+rocks, and under the fir-trees we shall forget the valley.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+And the world? Oh, my lord, there are distances farther than the peaks
+of Siang, and they will call you from me. It cannot be that you who have
+known all lands will be content with one. I would see the strange people
+you have made your brothers, would listen to their dreams, and read the
+future with their hearts. There are dangers you would not let my body
+share&mdash;I do not ask that&mdash;but my soul, you could forbid it nothing.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+What have you heard? What has Makuro said to you?
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+What should he say but that the cakes were good, and the tea had the
+flavor of the fields of Hunan?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+We must join our friends. Where do they wait?
+</p>
+<p>
+<span class="pagenum"><a id="page72" name="page72"></a>[72]</span>
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+They listen for the boat that will stop at the foot of the orchard. Why
+do they go? Old friends should not be so brief in greeting. Could they
+not stay one night?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+No&mdash;no. (<i>Sits down</i>.) They must go.
+</p>
+<p class="char">
+<i>Wong Fe</i> (<i>laying her hand on his shoulder</i>)
+</p>
+<p>
+What voice dost thou hear, and wilt not answer?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Nothing&mdash;nothing.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+You will not long be deaf between the beating of our two hearts. You
+will hear and go. That is why I long for the death-fairy to come in my
+hour of happiness. You have joined with strong men to lift a heavy yoke
+from the world. My smiles cannot feed your spirit. Go with your friends.
+Let the whistle of the boat part us.
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+The cassia-tree may draw itself from earth, and walk on feet of roots
+through the world, but I cannot divide my days from yours, for you are
+myself, Wong Fe.
+</p>
+<p class="char">
+<i>Wong Fe</i> (<i>resigned</i>)
+</p>
+<p>
+I believe you, my lord. We shall not part.
+
+<span class="pagenum"><a id="page73" name="page73"></a>[73]</span>
+
+                                            But what joy it would be to
+die now in your presence, while the love-cup is full! Oh, I could not
+meet death alone! You know the poor ghost in the song who died in the
+absence of her lover? She is always pleading to be allowed to die again
+when his arms may be around her. So would my ghost go wailing if I lost
+your kiss in death. (<i>Touches his cheek</i>.) Is that a tear, Yu Tai Shun?
+I torture you because I am so happy! You shall laugh, my prince! I know
+a new game we shall play. Little So Siu taught it to me to-day. She says
+it is an American game. We call it "Guess behind you!" You turn your
+back&mdash;like that&mdash;and you must tell me what I am doing. When you miss
+three times, then I shall tell you what you must pay. Now&mdash;what is it
+I do?
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+You throw me a kiss.
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+So I do! And now, my soul's light?
+</p>
+<p class="stage">
+    (<i>Takes stiletto from her sleeve. The whistle of the boat is heard.
+    He turns. She hides stiletto.</i>)
+</p>
+<p class="char">
+<i>Shun</i>
+</p>
+<p>
+Our friends are going.
+</p>
+<p>
+<span class="pagenum"><a id="page74" name="page74"></a>[74]</span>
+</p>
+<p class="char">
+<i>Wong Fe</i>
+</p>
+<p>
+But wait&mdash;there is time. You must guess once more! Oh, you are slow as
+ten turns of a river! There!
+</p>
+<p class="stage">
+    (<i>Turns his head with her hands, then snatches the stiletto, stabs
+    herself and falls. He turns, kneels dazedly, and takes her in his arms
+    as she dies.</i> <span class="sc">Ching</span> <i>and</i> <span class="sc">Makuro</span> <i>enter.</i>)
+</p>
+<p class="char">
+<i>Ching</i>
+</p>
+<p>
+The boat&mdash; (<i>Stops in consternation.</i>)
+</p>
+<p class="char">
+<i>Makuro</i> (<i>softly</i>)
+</p>
+<p>
+Master, I did not ask this price.
+</p>
+<p class="char">
+<i>Shun</i> (<i>rising</i>)
+</p>
+<p>
+It is paid.
+</p>
+
+<p class="center">
+(CURTAIN)
+</p>
+
+<p>
+<span class="pagenum"><a id="page75" name="page75"></a>[75]</span>
+</p>
+
+<a name="h2H_4_0008" id="h2H_4_0008"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    EVERYCHILD
+</h2>
+<h3>
+    A PLAY OR PAGEANT
+</h3>
+
+<h3>
+BY
+<br />
+<span class="sc">Frederick Peterson</span>
+<br />
+AND
+<br />
+<span class="sc">Olive Tilford Dargan</span>
+</h3>
+
+<p>
+<span class="pagenum"><a id="page76" name="page76"></a>[76]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    DRAMATIS PERSONÆ
+</h2>
+
+<p>
+    <i>Scene I. The Garden of Joy</i>
+</p>
+<p class="scene">
+    Cho-Cho The Clown Everychild Mother, Father, and dancing children
+</p>
+<p>
+<i>Scene II. Sweat-shop</i>
+</p>
+<p class="scene">
+    Father, Mother, three children, Everychild
+</p>
+<p>
+<i>Scene III. The Farmstead</i>
+</p>
+<p class="scene">
+    Jim the Father, Mary the Mother, Billie, Tom, and Rosie, their
+    children. Cho-Cho and Everychild
+</p>
+<p>
+<i>Scene IV. The Coal-mine</i>
+</p>
+<p class="scene">
+    Joe, Jack, Bert&mdash;three old miners and two boys
+</p>
+<p>
+<i>Final Scene. Same as first scene</i>
+</p>
+<p class="scene">
+    Cho-Cho, Everychild, Mother, Father. Old group of children and new
+    group with Everychild
+</p>
+<p>
+<span class="pagenum"><a id="page77" name="page77"></a>[77]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    PROLOGUE
+</h2>
+
+<p class="char">
+    BY CHO-CHO
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i4">     Good people! </p>
+<p class="i2">   This is the Play of Everychild </p>
+<p class="i2">   With Cho-Cho </p>
+<p class="i2">   As Author and Manager. </p>
+<p class="i2">   The play has defects&mdash; </p>
+<p class="i2">   It has good points&mdash; </p>
+<p class="i2">   And bad points&mdash; </p>
+<p class="i2">   Like the world itself&mdash; </p>
+<p class="i2">   Like life! </p>
+<p class="i2">   Perhaps the author of the world </p>
+<p class="i2">   Is something like me, </p>
+<p class="i2">   A little grotesque, </p>
+<p class="i2">   A little whimsical, </p>
+<p class="i2">   Serious often, </p>
+<p class="i2">   Sometimes all the more serious </p>
+<p class="i2">   Seen through a Fool's words </p>
+<p class="i2">   With cap and jingle of bells. </p>
+<p class="i2">   In this droll world </p>
+<p class="i2">   There are lots of children </p>
+<p class="i2">   Who are the children of fools&mdash; </p>
+<p class="i2">   Like me. </p>
+
+<span class="pagenum"><a id="page78" name="page78"></a>[78]</span>
+
+<p class="i2">   Good people! </p>
+<p class="i2">   I bespeak your patience </p>
+<p class="i2">   With Everychild </p>
+<p class="i2">   Daughter of a Clown. </p>
+</div>
+</div>
+
+<p>
+<span class="pagenum"><a id="page79" name="page79"></a>[79]</span>
+</p>
+
+<p class="scene">
+    <span class="sc">Scene I</span>: <i>Stage dark as curtain rises. Moderate starlight and
+    quiet music of cradle-song type. Little fairies come out dancing in the
+    darkness with firefly lamps and sing the following cradle song:</i>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Some one is sleeping </p>
+<p class="i4">     Out in the dark </p>
+<p class="i2">   Where fireflies glimmer </p>
+<p class="i4">     Spark upon spark. </p>
+</div>
+<div class="stanza">
+<p class="i2">   Some little stranger </p>
+<p class="i4">     Come from afar </p>
+<p class="i2">   Under the glory </p>
+<p class="i4">     Of moon and of star. </p>
+</div>
+<div class="stanza">
+<p class="i2">   Deep in the blossoms </p>
+<p class="i4">     That drift as they fall </p>
+<p class="i2">   Some one is sleeping </p>
+<p class="i4">     And stirs not at all. </p>
+</div>
+<div class="stanza">
+<p class="i2">   Sleep, little stranger! </p>
+<p class="i4">     The night is near gone; </p>
+<p class="i2">   Sleep, little stranger, </p>
+<p class="i4">     But dream of the dawn! </p>
+</div>
+</div>
+
+<p>
+<span class="pagenum"><a id="page80" name="page80"></a>[80]</span>
+</p>
+
+<p class="scene">
+    <i>The dim light reveals a dark figure lying on the mosses at the foot of
+    an old tree. As the light grows gradually stronger the dark object
+    begins to move, to slowly take off one after another of black coverings,
+    revealing a little girl of nine or ten years, dressed in white. She rubs
+    her eyes, looks about wonderingly, and slowly rises to a standing
+    position. Meanwhile the earth grows more luminous and roseate. The birds
+    have begun to twitter now and then before the dawn, and their notes
+    increase in number and variety with the approach of morning. The growing
+    light reveals an orchard of old apple-trees near at hand in full bloom,
+    with petals falling, and hills and mountains lifting and towering upward
+    higher and higher into the blue distance. A path leads from the orchard
+    up the near hills and toward the heights. The music has grown louder,
+    and is sweet and tender, interspersed with bird notes. A number of
+    children, girls and boys, come out and sing and dance under the blossoms
+    of the apple-trees. They sing the children's song:</i>
+</p>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   We are of the sunrise </p>
+<p class="i4">     Flower-breath and dew, </p>
+
+<span class="pagenum"><a id="page81" name="page81"></a>[81]</span>
+
+<p class="i2">   Travelling wider circles </p>
+<p class="i4">     Of blue beyond the blue, </p>
+</div>
+<div class="stanza">
+<p class="i2">   Seeking strength of spirit, </p>
+<p class="i4">     Happiness and joy&mdash; </p>
+<p class="i2">   Heritage decreed for </p>
+<p class="i4">     Every girl and boy. </p>
+</div>
+<div class="stanza">
+<p class="i2">   Music of the moonbeams </p>
+<p class="i4">     And the orchard rain, </p>
+<p class="i2">   Music of the meadows </p>
+<p class="i4">     Waving with the grain, </p>
+</div>
+<div class="stanza">
+<p class="i2">   Mountains in the sunlight, </p>
+<p class="i4">     Colors of the flowers, </p>
+<p class="i2">   Trailing cloud and shadow&mdash; </p>
+<p class="i4">     All of these are ours. </p>
+</div>
+<div class="stanza">
+<p class="i2">   We are of the sunrise </p>
+<p class="i4">     Flower-breath and dew, </p>
+<p class="i2">   Travelling wider circles </p>
+<p class="i4">     Of blue beyond the blue. </p>
+</div>
+</div>
+
+<p class="scene">
+    <i>The little girl in the foreground looks with wonder and delight at the
+    entrancing spectacle. She has her side to the audience. She raises her
+    arms, listens, rubs her eyes, smiles with joy. She touches the grass,
+    the flowers, the trees,
+
+<span class="pagenum"><a id="page82" name="page82"></a>[82]</span>
+
+    picks up and smells the falling apple-blossoms. She begins to dance like
+    the other children. One of them sees her and runs toward her with arms
+    outstretched. The newcomer touches her hair and her hands. They smile at
+    each other. The little girl leads the stranger toward the others and has
+    her join in the dance. The dancing is in the Greek manner. They play
+    with a light, large, bubble-like balloon.</i>
+</p>
+<p class="char">
+<i>Little Girl</i>
+</p>
+<p>
+What is your name?
+</p>
+<p class="char">
+<i>Stranger</i>
+</p>
+<p>
+I do not understand.
+</p>
+<p class="char">
+<i>Little Girl</i>
+</p>
+<p>
+Oh, of course, I forgot. I will lead you to some one who will give you a
+name.
+</p>
+<p class="stage">
+    (<i>A man and woman have come slowly through the orchard and seated
+    themselves on a bench under an apple-tree. Two or three of the children
+    lead the stranger up to them.</i>)
+</p>
+<p class="char">
+<i>Stranger</i> (<i>feeling of the hair and gown of the woman</i>)
+</p>
+<p>
+Who are you?
+</p>
+<p class="char">
+<i>Woman</i> (<i>smiling</i>)
+</p>
+<p>
+I am your mother.
+</p>
+<p>
+<span class="pagenum"><a id="page83" name="page83"></a>[83]</span>
+</p>
+<p class="char">
+<i>Stranger</i> (<i>feeling of the hair and face and garments of the man</i>)
+</p>
+<p>
+Who are you?
+</p>
+<p class="char">
+<i>Man</i>
+</p>
+<p>
+I am your father.
+</p>
+<p class="char">
+<i>Stranger</i>
+</p>
+<p>
+What place is this? They told me somewhere&mdash;but I have forgotten&mdash;that I
+should die <i>there</i> which is being born <i>here</i> and come to the earth.
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+Yes, this is our world, and I shall give you a name. I shall name you
+Everychild.
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+Is it always and everywhere so beautiful?
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+No, but it should be so, and some day it will be so.
+</p>
+<p class="char">
+<i>Father</i>
+</p>
+<p>
+It is a dream we have.
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+It will be even more beautiful than this, for we shall go higher, and
+climb those Morning Mountains. The flowers of the Spirit grow there.
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+And we shall gather them?
+</p>
+<p class="char">
+<i>Father</i>
+</p>
+<p>
+Yes, Everychild. Come now, and bring all the
+
+<span class="pagenum"><a id="page84" name="page84"></a>[84]</span>
+
+                                              others with you. We will
+take that path yonder to the hills.
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+No, wait! They are not all here. There are some missing. They must all
+come.
+</p>
+<p class="char">
+<i>Father</i>
+</p>
+<p>
+It will be so long to wait. Let us go with these.
+</p>
+<p class="char">
+<i>Mother</i> (<i>laying her hand on</i> <span class="sc">Everychild's</span> <i>head</i>)
+</p>
+<p>
+Have we not named her Everychild?
+</p>
+<p class="char">
+<i>Father</i>
+</p>
+<p>
+Yes. She must go down and find all who have lost their way. Perhaps some
+have awakened in the wrong place and are wandering about in the dark
+jungle of the world. We will wait here till they come.
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+Go, Everychild. Find them and bring them all back with you. Take this
+lamp. (<i>Hands her a rose-colored lamp, etc.</i>)
+</p>
+<p class="char">
+<i>Father</i>
+</p>
+<p>
+Our lamp?
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+Our love!
+</p>
+<p class="char">
+<i>Father</i>
+</p>
+<p>
+Take it, Everychild. With this lamp you can find the lost children and
+bring them all back with you.
+</p>
+<p>
+<span class="pagenum"><a id="page85" name="page85"></a>[85]</span>
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+We will wait for them no matter how long.
+</p>
+<p class="stage">
+    (<span class="sc">Everychild</span> <i>starts down along a path leading off the stage to
+    the right&mdash;the music and singing continue through the whole scene.</i>
+    <span class="sc">Cho-Cho</span> <i>appears, right, for a moment and points her path to
+    her saying: "This way, Everychild."</i>)
+</p>
+
+<p class="center">
+(CURTAIN FALLS)
+</p>
+
+<p class="center">
+<span class="sc">Curtain</span> <i>rises revealing</i>
+</p>
+
+<p class="scene">
+    <span class="sc">Scene II:</span> <i>A squalid room in a city tenement, a miserable
+    stove, a bedraggled bed. Right, a table at which a poorly dressed man
+    and woman are working fast and feverishly. Three children of about four,
+    eight, and ten years sit on a bench, left, sewing as fast as they can,
+    looking tired, depressed, weary. It is evening, the room poorly lit.
+    Noises from the street, street calls, rumbling of vehicles, honk of
+    autos, etc., etc.</i>
+</p>
+<p class="char">
+<i>The Younger Child</i>
+</p>
+<p>
+Ma, can I go to bed? I am so tired and hungry.
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+It ain't ten yet. It will be only a few minutes more. The boss is coming
+early in the morning and we must have the work ready. Now you be
+
+<span class="pagenum"><a id="page86" name="page86"></a>[86]</span>
+
+  still and
+keep working. You don't know what a good home you got. Ain't she got a
+good home, John?
+</p>
+<p class="char">
+<i>Father</i>
+</p>
+<p>
+You bet she got a good home, and if you all work now we get the good
+coffee and bread in the morning and perhaps in a couple a weeks we all
+go to the movies.
+</p>
+<p class="char">
+<i>Oldest Child</i>
+</p>
+<p>
+Gee, I like to see that fairy play what we see once.
+</p>
+<p class="stage">
+    (<i>Bell strikes ten.</i>)
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+Now, go right to bed, children. It is ten o'clock.
+</p>
+<p class="stage">
+    (<i>Takes light and goes with husband into room right. Children undress
+    and scramble into one bed.</i>)
+</p>
+<p class="stage">
+    (<i>Street noises all discontinue, back of room opens out on to the
+    orchard and the music of first scene is heard with dancing children.</i>
+    <span class="sc">Everychild</span> <i>comes into the room with her rosy lamp. The three
+    children sit up in bed and rub their eyes.</i> <span class="sc">Everychild</span> <i>glides
+    all about the room and looks at the squalid place in dismay, then goes
+    up and smiles at the children.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page87" name="page87"></a>[87]</span>
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+You are some of the lost children. How did you get in here? Come with
+me. I will give you some better clothes and you can dance and sing with
+all of them.
+</p>
+<p class="stage">
+    (<i>They get out of bed and she leads them in wonder and joy out into the
+    orchard.</i>)
+</p>
+
+<p class="center">
+(CURTAIN FALLS)
+</p>
+
+<p class="scene">
+    <span class="sc">Scene III</span>: <i>Plain interior of a farmer's kitchen with farmer's
+    wife busy over stove, and kitchen table set for lunch for two. Adjacent
+    room, left, small bedroom in which lies a pallid thin child in bed with
+    dishes and bottles on little bedside table. Very little light. Curtains
+    to a single window down. Farmer in overalls comes in, looking hot and
+    tired. He throws hat on chair, says "Hullo, Mary, dinner ready?" and
+    proceeds to wash hands and face in a basin on a stool. Then sits down at
+    the table.</i>
+</p>
+<p class="char">
+<i>Mary</i> (<i>bringing food from stove and sitting down opposite</i>)
+</p>
+<p>
+Here we are, Jim. Guess you're ready for something. It takes a man to
+sprout a patch o' locusts, and you had breakfast by lamplight.
+</p>
+<p>
+<span class="pagenum"><a id="page88" name="page88"></a>[88]</span>
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+Some o' them roots seemed as long as from here to the barn.
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+But you'll have the best pasture in the county next year.
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+What's the good? We rationed our beef steers the way that government
+chap taught us, and our pigs, and our sheep, and who got the profit?
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+A lot more documents came from the government to-day&mdash;all about <i>pigs</i>.
+And we haven't got a decent house to live in! If we could only build on
+that pretty bit of high ground I've had picked out for three years,
+Rosie would quit havin' these sick spells.
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+How is she, mother?
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+I b'lieve she's a little better. Jim, have you got any money left from
+sellin' the car?
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+You know we had to pay the interest at the bank first of all, and the
+rest went for fertilizer.
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+I miss the car more on Rosie's account than
+
+<span class="pagenum"><a id="page89" name="page89"></a>[89]</span>
+
+ mine. She's been cryin'
+for a ride this morning. I didn't know what to say. And I had to promise
+her she could go to the picnic if she got well. That'll mean a pretty
+dress, and hat and shoes.
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+I don't know where you'll get 'em then.
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+Looks like we ought to be able to give our children a little pleasure.
+There's poor Billie and Tom don't more'n get home from school an' lay
+their books down till they have to go to hoein' and pullin' weeds. I
+don't blame Billie a bit for runnin' away and goin' fishin' last
+Saturday.
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+I don't either, though I had to whip him for it. I can't do without his
+work and get through.
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+Get through? When did we ever get through anyhow? Look at this, Jim.
+(<i>Picks up paper and points to paragraph.</i>) Beef steers sold to-day in
+Chicago at nine cents a pound. It cost us fourteen cents to raise ours,
+and we're countin' on makin' things easier by raisin' more next year.
+And see here, it says <i>beef</i> went <i>up</i> in the Eastern market four cents.
+</p>
+<p>
+<span class="pagenum"><a id="page90" name="page90"></a>[90]</span>
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+Steers down, beef up! Robbin' both ways.
+</p>
+<p class="stage">
+    (<i>Enter</i> <span class="sc">Billie</span> <i>and</i> <span class="sc">Tom</span> <i>with schoolbooks, which
+    they throw down, shouting: "We got a half-holiday!"</i>)
+</p>
+<p class="char">
+<i>Billie</i>
+</p>
+<p>
+The big boys are goin' to play ball. Dad, can't we go watch 'em?
+(<span class="sc">Mary</span> <i>and</i> <span class="sc">Jim</span> <i>look at each other.</i>)
+</p>
+<p>
+We ain't seen a ball game this year, and we want to learn to play.
+They're makin' a little boys' team at school.
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+Daddy's workin' awfully hard to-day. He needs you bad to pile brush for
+him.
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+You can't go to-day, boys. Next time&mdash;&mdash;
+</p>
+<p class="char">
+<i>Billie</i> (<i>hopeless</i>)
+</p>
+<p>
+Oh, next time! It's always next time.
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+Wash up now, and you can have a hot dinner.
+</p>
+<p class="stage">
+    (<i>They wash listlessly.</i>)
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+Mary, I think you'd better telephone for the doctor to come and have a
+look at Rosie.
+</p>
+<p>
+<span class="pagenum"><a id="page91" name="page91"></a>[91]</span>
+</p>
+<p class="char">
+<i>Mary</i> (<i>hesitating</i>)
+</p>
+<p>
+I did&mdash;this morning. He said he didn't have time to come out to-day.
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+Dr. Lowden?
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+Guess he's tired o' comin' for nothing. You can't blame him.
+</p>
+<p class="stage">
+    (<span class="sc">Jim</span> <i>hangs his head. A knock at the door.</i> <span class="sc">Jim</span> <i>rises
+    and opens it.</i> <span class="sc">Cho-cho</span> <i>enters giggling and grimacing while the
+    farmer and his wife are speechless with amazement.</i>)
+</p>
+<p class="char">
+<i>Cho-Cho</i>
+</p>
+<p>
+You sent for a doctor?
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+Yes&mdash;but&mdash;you&mdash;ain't&mdash;no doctor.
+</p>
+<p class="char">
+<i>Cho-Cho</i>
+</p>
+<p>
+No, I&mdash;ain't&mdash;no&mdash;doctor (<i>mimicking</i>), but my daughter is a doctor and
+here she is now.
+</p>
+<p class="stage">
+    (<i>Enter</i> <span class="sc">Everychild</span> <i>disguised as a doctor, with a long black
+    cape hiding her white dress, a pair of goggles over her eyes, a long
+    white beard, a white wig, a man's hat on, a little black bag in her
+    hands.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page92" name="page92"></a>[92]</span>
+</p>
+<p class="char">
+<i>Jim</i> (<i>tearing his hair distractedly</i>)
+</p>
+<p>
+You say that little old man is your daughter and a doctor?
+</p>
+<p class="char">
+<i>Cho-Cho</i>
+</p>
+<p>
+That's right&mdash;but a new kind of doctor. This is a Health doctor, not a
+Disease doctor. Present treatment for Health&mdash;absent treatment for
+absence of Health. (<i>Ha&mdash;ha&mdash;hee&mdash;hee!</i>) I'll leave the doctor here.
+(<i>Goes out.</i>)
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+Well, well, where is the patient? (<i>Putting hat on chair.</i>)
+</p>
+<p class="char">
+<i>Jim</i>
+</p>
+<p>
+I must be crazy, but I never seen a doctor like you. You ain't no
+doctor.
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+Oh, yes I am. I'm a children's specialist. Is she in that room? (<i>Goes
+to door and opens it</i>&mdash;<i>draws back a little.</i>) Whew! No air. Lift up
+that curtain and open the window! (<span class="sc">Jim</span> <i>does it, rather
+aghast.</i>) You must show me where you keep your pigs. Don't they get
+light and air on a day like this? (<i>Goes toward bed as</i> <span class="sc">Rosie</span>
+<i>rises up in bed and stares with a smile at the little doctor</i>.) So this
+is the little patient. Well! Well! (<i>Lifts up and looks at the
+bottles.</i>) Take these and throw them out.
+
+<span class="pagenum"><a id="page93" name="page93"></a>[93]</span>
+
+                                           (<i>Hands them to</i> <span class="sc">Mary</span>,
+<i>who takes them out and returns.</i>) My! My! Pork and potatoes and candy!
+Of all things! I'll have to make out a diet list later. (<i>Feels
+pulse&mdash;listens to her chest.</i>) I think the trouble with you is bad food,
+bad air, and no light. The trouble is not enough agricultural pamphlets
+on human live stock, not enough government millions spent on the real
+thing. Now get up, Rose! Let me see you stand. There, that's good. Now a
+comb and brush&mdash;we'll help this hair a little.
+</p>
+<p class="char">
+<i>Mary</i> (<i>handing</i> <span class="sc">Everychild</span> <i>a comb and brush</i>)
+</p>
+<p>
+My hands are so full of work&mdash;&mdash;
+</p>
+<p class="char">
+<i>Everychild</i> (<i>arranging</i> <span class="sc">Rosie's</span> <i>hair</i>)
+</p>
+<p>
+Yes, that's better. Now, father, a glass of milk! (<span class="sc">Jim</span> <i>goes
+into kitchen.</i>) And mother, open that bag, please.
+</p>
+<p class="stage">
+    (<i>While</i> <span class="sc">Mary</span> <i>opens bag.</i> <span class="sc">Jim</span> <i>returns with glass of
+    milk, which</i> <span class="sc">Rosie</span> <i>drinks.</i>)
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+Oh, my!
+</p>
+<p class="stage">
+    (<i>Takes out pretty dress, stockings and slippers, which she lifts up,
+    looks at delightedly, and carries to the doctor.</i>)
+</p>
+<p class="char">
+<i>Rosie</i>
+</p>
+<p>
+Oh, mother! You did get them!
+</p>
+<p>
+<span class="pagenum"><a id="page94" name="page94"></a>[94]</span>
+</p>
+<p class="stage">
+    (<span class="sc">Everychild</span> <i>works fast, slips the gown on the patient with the
+    stockings and slippers, while</i> <span class="sc">Rosie</span> <i>smiles happily, though
+    dazed by the splendor of it.</i>)
+</p>
+<p class="char">
+<i>Rosie</i>
+</p>
+<p>
+Are you going to take me to the picnic?
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+Indeed I am! A picnic that will never be over!
+</p>
+<p class="char">
+<i>Rosie</i>
+</p>
+<p>
+Are we going to ride? Have we got our car back?
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+Better than that.
+</p>
+<p class="char">
+<i>Rosie</i>
+</p>
+<p>
+What is it?
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+You'll see. Maybe you'll dance out of the window.
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+Are you going to take her away?
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+Yes, I shall keep her with me until she is well. Then she will return to
+you.
+</p>
+<p class="stage">
+    (<i>Takes out of the bag the rosy lamp and waves it. Throws aside her cap
+    and pulls off goggles, wig, and beard. The back wall moves away,
+
+<span class="pagenum"><a id="page95" name="page95"></a>[95]</span>
+
+    revealing the first scene with the same strains of music and the
+    dancing children in the orchard.</i> <span class="sc">Everychild</span> <i>leads</i>
+    <span class="sc">Rosie</span> <i>out to join them.</i> <span class="sc">Billie</span> <i>and</i> <span class="sc">Tom</span>
+    <i>move after them calling: "Let us go with you! Take us with you!"</i>)
+</p>
+<p class="char">
+<i>Rosie</i>
+</p>
+<p>
+Oh, please take Billie and Tom!
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+Yes, I want them, too. Come along, boys!
+</p>
+<p class="stage">
+    (<i>They shout and run after</i> <span class="sc">Rosie</span> <i>and</i> <span class="sc">Everychild</span>.)
+</p>
+<p class="char">
+<i>Mary</i>
+</p>
+<p>
+Oh, Jim, is this a dream? Or am I awake at last?
+</p>
+<p class="char">
+<i>Jim</i> (<i>putting his hand to his head, dazedly</i>)
+</p>
+<p>
+Perhaps this is what it ought to be for all the children of the world.
+</p>
+
+<p class="center">
+(CURTAIN FALLS)
+</p>
+
+<p class="scene">
+    <span class="sc">Scene IV</span>: <i>Interior of a coal-mine, lit only by lamps on the
+    heads of three men and two boys, about twelve and fourteen years, the
+    men busy at work getting the coal down with picks, the boys shovelling
+    coal into a car. They work a few minutes. Distant muffled sound of a
+    steam-whistle.
+
+<span class="pagenum"><a id="page96" name="page96"></a>[96]</span>
+
+                    They immediately drop tools and go to corner and pick
+    up each a can, paper bag, or small basket, and sit down to eat.</i>
+</p>
+<p class="char">
+<i>One Man</i>
+</p>
+<p>
+Lunch-time. It feels good to rest half an hour in this bloomin' hole.
+(<i>Takes a drink from a bottle he brings from his pocket and hands to
+another.</i>) Have a swig, Jack?
+</p>
+<p class="char">
+<i>Jack</i>
+</p>
+<p>
+Don't care if I do. (<i>Takes a swallow.</i>) I'll bring some next time, Joe.
+</p>
+<p class="char">
+<i>Joe</i> (<i>passing bottle to the other</i>)
+</p>
+<p>
+Here, Bert, it helps. Take some and give a swallow to the boys.
+</p>
+<p class="char">
+<i>Bert</i>
+</p>
+<p>
+I'll take some and thank you, but I guess the boys are better off
+without it.
+</p>
+<p class="char">
+<i>Jack</i>
+</p>
+<p>
+How long you worked here, Bert?
+</p>
+<p class="char">
+<i>Bert</i>
+</p>
+<p>
+Nigh on fifteen years, and a devil's job it is. I wanted to be a sailor,
+but I got into this, and it paid pretty good, and then I got tangled up
+with a family and just stayed on the job. But it's no place to spend a
+life. (<i>Coughs.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page97" name="page97"></a>[97]</span>
+</p>
+<p class="char">
+<i>Joe</i>
+</p>
+<p>
+I been here 'bout as long as you, Bert. I ran away from the big woods
+where my father was a lumberman. Thought I'd see the world, and just got
+stuck here and never could make up my mind to get away. See the world,
+eh! All I ever seed was de inside of it. If I had my way to do over
+again, I think I'd take to the tall timber up dere on top.
+</p>
+<p class="stage">
+    (<i>Meantime the two boys, while eating with one hand out of their cans,
+    have been whispering and playing knuckle-bones with pieces of coal, a
+    little way from and behind the men. Suddenly they stop, look around at
+    each other and listen, for they hear the fairy dance music of the first
+    scene, which is not heard by these older men, who go on talking.</i>)
+</p>
+<p class="char">
+<i>First Boy</i>
+</p>
+<p>
+Dey's havin' parade up dere.
+</p>
+<p class="char">
+<i>Second Boy</i>
+</p>
+<p>
+Dat ain't band music, you mutt.
+</p>
+<p class="stage">
+    (<span class="sc">First Boy</span> <i>begins to sway as if in time with the music.</i>)
+</p>
+<p class="char">
+<i>Second Boy</i>
+</p>
+<p>
+Wot's the matter?
+</p>
+<p>
+<span class="pagenum"><a id="page98" name="page98"></a>[98]</span>
+</p>
+<p class="char">
+<i>First Boy</i> (<i>sheepish</i>)
+</p>
+<p>
+Nuthin'. (<i>Tries to keep still. They both listen.</i>) Did yer ever dance,
+Buck?
+</p>
+<p class="char">
+<i>Second Boy</i>
+</p>
+<p>
+Naw. (<i>Listens.</i>) But I bet I could!
+</p>
+<p class="char">
+<i>First Boy</i>
+</p>
+<p>
+I had a dream onct. I dremp I's in an orchard, an' they's blooms
+floatin' round. I could smell 'em!
+</p>
+<p class="char">
+<i>Second Boy</i>
+</p>
+<p>
+You's nutty. You can't smell in a dream.
+</p>
+<p class="stage">
+    (<i>They listen, and finally yield to the music, swaying their bodies,
+    moving their arms, and beginning to dance as the music goes on.</i>)
+</p>
+<p class="char">
+<i>Jack</i>
+</p>
+<p>
+I've been here fourteen years, since I was a boy. It ain't a place for
+a man. It's too black. You get black outside and inside. Why, they say
+your lungs get black from breathing this dust. And your soul gets black.
+The place for an honest man to work is out in the white light, on your
+ocean or in your woods, or on the roads and railways, and in the big
+buildings. This kind of work is work with punishment added to it. A
+little of it would be all right for men who go wrong, or for some as
+needs discipline. Then some day
+
+<span class="pagenum"><a id="page99" name="page99"></a>[99]</span>
+
+                                they'll get machines to do the rest.
+Ah&mdash;there's the whistle. Come on, boys, to work again!
+</p>
+<p class="stage">
+    (<i>A whistle sounds and all start to work as before.</i>)
+</p>
+
+<p class="center">
+(CURTAIN FALLS)
+</p>
+
+<p class="scene">
+    <span class="sc">Final Scene</span>: <i>Curtain rises on final scene. Same as first, with
+    music as before, and with the mother and father and children among the
+    apple-trees.</i> <span class="sc">Cho-cho</span> <i>appears, right, and says:
+    "Here they come!"</i> <span class="sc">Everychild</span> <i>enters, right, bringing with her a number
+    of children, who follow her and then scatter under the trees.</i>
+</p>
+<p class="char">
+<i>Everychild</i>
+</p>
+<p>
+Oh, mother, I went everywhere, and we've brought all who could come!
+But there were some in holes in the ground that I couldn't reach, though
+we danced and danced, and called and called. They were too far down.
+And there were some ill and crippled, in hospitals, that couldn't walk,
+and some hidden away in great buildings called factories&mdash;and some in
+tenements, where there was no sun, and no green grass to walk on.
+Mother, what shall we do? It was so hard to leave them. Won't you go
+back with me, and help me?
+</p>
+<p>
+<span class="pagenum"><a id="page100" name="page100"></a>[100]</span>
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+Yes, Everychild. We must all go. Not one must be left down there.
+</p>
+<p class="char">
+<i>Father</i>
+</p>
+<p>
+Yes, we cannot go on up the Morning Mountains until they come.
+</p>
+<p class="char">
+<i>Mother</i>
+</p>
+<p>
+We will start at once, all of us, down through the highways and valleys
+and cities of the world, and bring them here. Come, children, let us go.
+</p>
+<p class="stage">
+    (<i>They gather about her and start down, right, singing as they go.</i>
+    <span class="sc">Cho-cho</span> <i>lingers behind for a few moments and pronounces an
+    epilogue.</i>)
+</p>
+<p>
+<span class="pagenum"><a id="page101" name="page101"></a>[101]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    EPILOGUE
+</h2>
+
+<div class="poem">
+<div class="stanza">
+<p class="i2">   Not all here yet&mdash; </p>
+<p class="i2">   But they must come </p>
+<p class="i2">   To this sunshine&mdash; </p>
+<p class="i2">   To these mountains&mdash; </p>
+<p class="i2">   To these birds and trees&mdash; </p>
+<p class="i2">   To the music&mdash; </p>
+<p class="i2">   To the Land of Health, </p>
+<p class="i2">   The Land of Happiness&mdash; </p>
+<p class="i2">   They may be gay <i>there</i>&mdash; </p>
+<p class="i6">       Sometimes&mdash; </p>
+<p class="i6">       Sometimes&mdash; </p>
+<p class="i2">   But <i>that</i> is a fool's Paradise&mdash; </p>
+<p class="i2">   My old Kingdom&mdash; </p>
+<p class="i2">   And I must lead them up </p>
+<p class="i2">   To this new land </p>
+<p class="i2">   Of hope and joy. </p>
+</div>
+</div>
+
+<p class="center">
+(CURTAIN FALLS)
+</p>
+
+<p>
+<span class="pagenum"><a id="page102" name="page102"></a>[102]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<p>
+<span class="pagenum"><a id="page103" name="page103"></a>[103]</span>
+</p>
+
+<a name="h2H_4_0012" id="h2H_4_0012"><!-- H2 anchor --></a>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    TWO DOCTORS AT AKRAGAS
+</h2>
+
+<h3>
+    BY
+<br />
+<span class="sc">Frederick Peterson</span>
+</h3>
+
+<p>
+<span class="pagenum"><a id="page104" name="page104"></a>[104]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    CHARACTERS
+</h2>
+
+<p>  <span class="sc">Akron</span></p>
+<p>  <span class="sc">Empedocles</span></p>
+<p>  <span class="sc">Pantheia</span></p>
+
+<p>
+<span class="pagenum"><a id="page105" name="page105"></a>[105]</span>
+</p>
+
+<div style="height: 4em;"><br /><br /><br /><br /></div>
+
+<h2>
+    TWO DOCTORS AT AKRAGAS
+</h2>
+<p class="center" style="font-size: 80%;">[<i>Atlantic Monthly</i>, 1911.]</p>
+
+<div style="height: 2em;"><br /><br /></div>
+
+<p class="char">
+<i>Akron</i>
+</p>
+<p>
+She has been dead these thirty days.
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+How say you, thirty days! and there is no feature of corruption?
+</p>
+<p class="char">
+<i>Akron</i>
+</p>
+<p>
+None. She has the marble signature of death writ in her whole fair
+frame. She lies upon her ivory bed, robed in the soft stuffs of Tyre, as
+if new-cut from Pentelikon by Phidias, or spread upon the wood by the
+magic brush of Zeuxis, seeming as much alive as this, no more, no less.
+There is no beat of heart nor slightest heave of breast.
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+And have you made the tests of death?
+</p>
+<p class="char">
+<i>Akron</i>
+</p>
+<p>
+There is no bleeding to the prick, nor film of breath upon the bronze
+mirror. They have had the best of the faculty in Akragas, Gela, and
+Syracuse, all save you; and I am sent by the dazed parents to beseech
+you to leave for a time the
+
+<span class="pagenum"><a id="page106" name="page106"></a>[106]</span>
+
+                             affairs of state and the great problems
+of philosophy, to essay your ancient skill in this strange mystery of
+life in death and death in life.
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+I will go with you. Where lies the house?
+</p>
+<p class="char">
+<i>Akron</i>
+</p>
+<p>
+Down yonder street of statues, past the Agora, and hard by the new
+temple that is building to Olympian Zeus. It is the new house of yellow
+sandstone, three stories in height, with the carved balconies and
+wrought brazen doors. Pantheia is her name. I lead the way.
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+The streets are full to-day and dazzling with color. So many carpets
+hang from the windows, and so many banners are flying! So many
+white-horsed chariots, and such concourses of dark slaves from every
+land in the long African crescent of the midland sea, from the pillars
+of Hercules to ferocious Carthage and beyond to the confines of Egypt
+and Ph&oelig;nicia! Ah, I remember now! It is a gala day&mdash;the expected
+visit of Pindar. I am to dine with him to-morrow at the Trireme. We
+moderns are doing more to celebrate his coming than our fathers did for
+Æschylus when he was here. I was very young then, but I remember
+
+<span class="pagenum"><a id="page107" name="page107"></a>[107]</span>
+
+  running with the other boys after him just to touch his soft gown and
+look into his noble face.
+</p>
+<p class="char">
+<i>Akron</i>
+</p>
+<p>
+I have several rolls of his plays, that I keep with some new papyri of
+Pindar arrived by the last galley from Corinth, in the iron chest inside
+my office door, along with some less worthy bags of gold of Tarshish and
+coinage of Athens, Sybaris, Panormos, and Syracuse. Ah, here is the
+door! It is ajar, and if you will go into the courtyard by the fountain
+and seat yourself under the palm-trees and azaleas on yon bench, by the
+statue of the nymph, I will go up to announce your coming.
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+All is still save for the far, faint step of Akron on the stair, and the
+still fainter murmur from the streets. The very goldfish in the fountain
+do not stir, and the long line of slaves against the marble wall, save
+for their branded foreheads, might be gaunt caryatides hewn in Egyptian
+wood or carved in ebony and amber. That gaudy tropic bird scarce ruffles
+a feather. What is the difference between life and death? A voice, a
+call, some sudden strange or familiar message on old paths, to the
+consciousness that lies under that
+
+<span class="pagenum"><a id="page108" name="page108"></a>[108]</span>
+
+                                   apparent unconsciousness, will waken
+all these semblances of inanimation into new life of arms and fins and
+wings. Let me try her thus! My grandfather was a pupil of Pythagoras who
+had seen many such death-semblances among the peoples of the white
+sacred mountains of far India. Ha! Akron beckons. I must follow him.
+</p>
+<p class="char">
+<i>Akron</i>
+</p>
+<p>
+Enter yon doorway where the white figure lies resplendent with jewels
+that gleam in the morning sun.
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+The arm drawn downward by the heavy golden bracelet is cold, yet soft
+and yielding like a sleep. The face has the natural ease of slumber, and
+not the rigid artificiality of death. 'Tis true there is no pulse, no
+beat of heart nor stir of breath, yet neither is there the sombre
+grotesqueness of the last pose. But the difference between life and
+death is here so small that it is incommensurable, the point of the
+mathematicians only. I shall hold this little hand in mine, and, with a
+hand upon her forehead, call her by name; for, you know, Akron, one's
+name has a power beyond every other word to reach the closed ears of the
+imprisoned soul.
+</p>
+<p>
+<span class="pagenum"><a id="page109" name="page109"></a>[109]</span>
+</p>
+<p>
+Pantheia! Pantheia! Pantheia! It is dawn. Your father calls you. Your
+mother calls you. And I call you and command you. Open your eyes and
+behold the sun!
+</p>
+<p class="char">
+<i>Akron</i>
+</p>
+<p>
+A miracle, oh, Zeus! The eyelids tremble like flower-petals under the
+wind of heaven. Was that a sigh or the swish of wings? Oh, wonder of
+wonders! she breathes&mdash;she whispers!
+</p>
+<p class="char">
+<i>Pantheia</i>
+</p>
+<p>
+Where am I? Is this death? Some one called my name. That is the pictured
+ceiling of my own room. Surely that is Zaldu, my pet slave, with big
+drops on her black face.... And father, mother, kneeling either side.
+And who are you with rapt face and star-deep eyes, thick hair with
+Delphic wreaths, and in purple gown and golden girdle? Are you a god?
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+Be tranquil, child, I am no god, only a physician come to heal you. You
+have been ill and sleeping a long time.
+</p>
+<p class="char">
+<i>Pantheia</i>
+</p>
+<p>
+Yes, I feel weakness, hunger, and thirst. I remember now that I was
+well, when suddenly a strange thought came to me on my pillow. I
+
+<span class="pagenum"><a id="page110" name="page110"></a>[110]</span>
+
+ thought that I was dead. This took such possession of me that it shut
+out every other thought, and being able to think only that one thought,
+I must have been dead. It seemed but a moment's time when the spell of
+the thought was broken by an alien deep voice from the void of nothing
+about me, calling me by name, calling me to wake and see the day. With
+that came floods of my own old thoughts, like molten streams from Ætna,
+that were rigid as granite before the word was given that loosed them.
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+Did you not see new things or new lands or old dead faces, for you have
+been gone a month? I am curious to know.
+</p>
+<p class="char">
+<i>Pantheia</i>
+</p>
+<p>
+How passing strange! No, I saw neither darkness nor light. I heard no
+sounds, nor was conscious of any silence. I must have had just the one
+thought that I was dead, but I lost consciousness of that thought. I
+remember saying good night to Zaldu, and I handed her the quaint doll
+from Egypt and bade her care for it. Then the thought seized me, and I
+knew no more. My thoughts which had always run so freely before, like a
+plashing brook, must have suddenly frozen,
+
+<span class="pagenum"><a id="page111" name="page111"></a>[111]</span>
+
+                                            as the amber-trader from
+the Baltic told me one day the rivers do in his far northern home. Oh,
+sir, are you going so soon?
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+Yes, child. You must take nourishment now, and talk no more. But I am
+coming again to see you, for I have many earnest questions still to put
+regarding this singular adventure.
+</p>
+<p class="char">
+<i>Akron</i>
+</p>
+<p>
+Let me walk with you. I will close the great door. Already the gay
+streets are silent, and the people crowd this way, whispering awe-struck
+together of the deed of wonder you have done this day. You have called
+back the dead to life, and they make obeisance to you as you pass, as if
+you were in truth a son of the immortals. Your name will go down the
+ages linked with the miracle of Pantheia. You are immortal.
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+Nay, 'tis not so strange as that, and yet 'tis stranger.
+</p>
+<p class="char">
+<i>Akron</i>
+</p>
+<p>
+I would know your meaning better.
+</p>
+<p class="char">
+<i>Empedocles</i>
+</p>
+<p>
+The power of a thought, that is the real wonder!
+
+<span class="pagenum"><a id="page112" name="page112"></a>[112]</span>
+
+                                                  We just begin to have
+glimpses of the effects of the mind upon the body. To me, Akron, the
+faculty has set too great store upon herbs and bitter drafts, and
+cutting with the knife. I would fain have the soul acknowledged more,
+our therapy built on the dual mechanism of mind and substance. For if an
+idea can lead to the apparent death of the whole body, so might other
+ideas bring about the apparent death of a part of the body, like, for
+example, a paralysis of the members, or of the senses of sight, feeling,
+hearing; and in truth I have seen such things. Or a thought might give
+rise to a pain, or to a feeling of general illness, or to a feeling of
+local disorder in some internal organ; and I feel sure I have likewise
+met with such instances. And if an idea may produce such ailments, then
+a contrary idea implanted by the physician may heal them. I believe this
+to be the secret of many of the marvels we see at the temples and
+shrines of Æsculapius and of the cures made by the touch of seers and
+kings.
+</p>
+<p>
+But this teaching goes much deeper and further. If we could in the
+schools implant in our youth ideas which were strong enough, we should
+be able to make of them all, each in proportion to his belief
+
+<span class="pagenum"><a id="page113" name="page113"></a>[113]</span>
+
+ in himself and his ambition, great men, great generals, thinkers, poets,
+a new race of heroes in all lines of human endeavor, who should be able
+by their united strength of idea and ideal finally to people the world
+with gods.
+</p>
+<p>
+I have among my slaves, who work as vintners and olive-gatherers, a
+physician of Thrace, as also a philosopher of the island of Rhodes, a
+member of the Pythagorean League. These I bought not long ago from the
+Etruscan pirates. Every evening I have them come to me on the roof after
+the evening meal, and there under the quiet of the stars we discuss life
+and death, the soul and immortality, and all the burning problems of
+order, harmony, and number in the universe. What surprises me is that
+this Thracian should be so in advance of the physicians of Hellas,
+for he holds as I do that the mind should be first considered in the
+treatment of most disorders of the body, because of its tremendous
+power to force the healing processes, and because sometimes it
+actually induces disease and death. And we have talked together of the
+incalculable value of faith and enthusiasm so applied in the education
+of the child, this new kind of gardening in the budding soul of mankind,
+and of what new and august
+
+<span class="pagenum"><a id="page114" name="page114"></a>[114]</span>
+
+                            races might thereby come to repeople this
+rather unsatisfactory globe.
+</p>
+<p>
+I am minded to free these slaves, indeed all my slaves, and I have the
+intention of devoting the most of a considerable fortune, both inherited
+and amassed by me, to the spread of these doctrines and to the public
+weal, particularly in the matter of planting in the souls of our youth,
+not the mere ability to read and write Greek and do sums in arithmetic,
+but the seeds of noble ideas that shall make this Trinacria of ours a
+still more wonderful human garden than it has been as a granary for the
+world's practical needs. From this sea-centre we send our freighted
+galleys to Gades in the West, Carthage in the South, Tyre in the East,
+and to the red-bearded foresters of the Far North. I would still send on
+these same routes this food, but also better food than this, stuff that
+should kindle and feed intellectual fires in all the remote places of
+the earth.
+</p>
+
+<div style="height: 6em;"><br /><br /><br /><br /><br /><br /></div>
+
+<hr />
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Flutter of the Goldleaf; and Other
+Plays, by Olive Tilford Dargan and Frederick Peterson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE FLUTTER OF THE GOLDLEAF ***
+
+***** This file should be named 20172-h.htm or 20172-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/0/1/7/20172/
+
+Produced by David Garcia and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Kentuckiana Digital Library)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/20172.txt b/20172.txt
new file mode 100644
index 0000000..56f1346
--- /dev/null
+++ b/20172.txt
@@ -0,0 +1,3960 @@
+The Project Gutenberg EBook of The Flutter of the Goldleaf; and Other Plays, by
+Olive Tilford Dargan and Frederick Peterson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Flutter of the Goldleaf; and Other Plays
+
+Author: Olive Tilford Dargan and Frederick Peterson
+
+Release Date: December 23, 2006 [EBook #20172]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE FLUTTER OF THE GOLDLEAF ***
+
+
+
+
+Produced by David Garcia and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Kentuckiana Digital Library)
+
+
+
+
+
+
+
+
+
+
+
+                    THE FLUTTER OF THE GOLDLEAF
+
+                          AND OTHER PLAYS
+
+
+                                 BY
+                        OLIVE TILFORD DARGAN
+
+                                AND
+                         FREDERICK PETERSON
+
+
+                              NEW YORK
+                      CHARLES SCRIBNER'S SONS
+                                1922
+
+
+
+
+
+
+                        COPYRIGHT, 1922, BY
+                      CHARLES SCRIBNER'S SONS
+
+                             PRINTED AT
+                         THE SCRIBNER PRESS
+                         NEW YORK, U. S. A.
+
+
+
+
+
+
+CONTENTS
+
+
+
+                                                      PAGE
+
+  THE FLUTTER OF THE GOLDLEAF                            1
+
+      BY OLIVE TILFORD DARGAN AND FREDERICK PETERSON
+
+
+  THE JOURNEY                                           49
+
+      BY OLIVE TILFORD DARGAN
+
+
+  EVERYCHILD                                            75
+
+      BY FREDERICK PETERSON AND OLIVE TILFORD DARGAN
+
+
+  TWO DOCTORS AT AKRAGAS                               103
+
+      BY FREDERICK PETERSON
+
+
+
+
+
+
+THE FLUTTER OF THE GOLDLEAF
+
+A PLAY IN ONE ACT
+
+BY
+
+Olive Tilford Dargan
+
+AND
+
+Frederick Peterson
+
+
+
+
+
+
+CHARACTERS
+
+
+  PHILO WARNER, _a student_
+  HIRAM WARNER, _his father, the village grocer_
+  MARY ANN WARNER, _his mother_
+  DR. BELLOWS, _the village physician_
+  DR. SEYMOUR, _a city specialist_
+  REBA SLOAN, _a neighbor's daughter_
+
+
+
+
+THE FLUTTER OF THE GOLDLEAF
+
+
+SCENE: _Laboratory in the attic of the Warner cottage. At right, toward
+    rear, entrance from down-stairs. A rude partition, left, with door
+    in centre. Window centre rear. Large kitchen table loaded with
+    apparatus. Shelves, similarly loaded, against wall near table, right.
+    Wires strung about. A rude couch, bench, and several wooden chairs._
+
+    _Time, about 8 p.m. Lamp burns on table._ MRS. WARNER _comes
+    up-stairs, puts her head inside the room nervously, then enters and
+    looks about._
+
+
+_Mrs. W._
+
+Such a mess! And the doctors will be here in half an hour! (_Tries to
+get busy but seems bothered. Crosses to table and looks at a little
+machine that stands upon it._) _That's_ what's driving my boy crazy! If
+I only dared to smash it! The right sort of a mother would do just that!
+(_Looks at machine with dire meditation._)
+
+_Warner_ (_without, roaring up the stairs_)
+
+Mary Ann!
+
+_Mrs. W._ (_jumps_)
+
+Yes, Hiram!
+
+_Warner_ (_entering_)
+
+Where's Philo?
+
+_Mrs. W._
+
+In the orchard. I watched my chance, and thought I'd redd up a little.
+He won't let me touch anything when he's here.
+
+_Warner_
+
+Just about lives up here, don't he?
+
+_Mrs. W._
+
+Day and night now, since he's been too sick to go to the store. And
+I can't have Dr. Bellows bring in that specialist from New York with
+things lookin' as if a woman had never come up the stairs. (_Dusting
+and rattling._)
+
+_Warner_
+
+Philo's not onto what the doctors are after, is he?
+
+_Mrs. W._
+
+He thinks they're coming to look at his machine mostly--and see what's
+keepin' him awake nights. But maybe he knows. He's awful sharp.
+
+_Warner_
+
+Sharp? Wish he knew enough to sell eggs and bacon. He's ruinin' my
+business. Weighs a pound of coffee as if he was asleep. I can see
+customers watchin' him out o' the tail o' their eye. They're gettin'
+_afraid_ of him! Mary Ann, the boy's going to be a shame to us. He's
+crazy!
+
+_Mrs. W._
+
+Don't you call _my_ boy crazy. I won't hear it, Hiram.
+
+_Warner_
+
+No, you'll wait till the whole village tells you! They're all talkin'
+now!
+
+_Mrs. W._
+
+It's none o' their business!
+
+_Warner_
+
+It'll be their business if he flies up and hurts somebody.
+
+_Mrs. W._
+
+Philo wouldn't hurt anything alive. He got mad at me once for killin'
+a spider.
+
+_Warner_ (_scornfully_)
+
+Showed his sense there, didn't he?
+
+_Mrs. W._
+
+If Philo's queer it's not from my side of the house. You know what your
+mother was like--wanderin' round nights starin' at the stars with that
+old spy-glass Captain Barker gave her.
+
+_Warner_
+
+She was a good mother, all the same.
+
+_Mrs. W._
+
+Couldn't cook at all. Your father only kept alive by eating at the
+neighbors occasionally--and as for sewing and mending, you children went
+in rags till your Aunt Sary came to live with you.
+
+_Warner_
+
+Mother thought a heap of us, though. I remember how she cried because I
+wouldn't go to school and went into the grocery business. And she cried
+a lot more when I married you. I couldn't understand her--_then_....
+
+_Mrs. W._
+
+Humph! She'd been shut up fast enough if your father hadn't been the
+softest-hearted man alive.
+
+_Warner_
+
+Maybe the boy does take after her, but he's worse'n she ever was.
+
+_Mrs. W._
+
+She didn't have any books--or college education--to turn her head.
+
+_Warner_
+
+Nothing to read but the _Weekly Mirror_. It was a good paper, though,
+all about crops and stock, and what the country people were doing, and
+a love story on the inside page. Father subscribed on her account. She
+told him her mind had to have _something_ to work on. But she didn't
+take to the paper, and he had to read it himself to get his money's
+worth.
+
+_Mrs. W._
+
+A good thing she didn't have a library to get at like Philo. All those
+books he brought home didn't do him any good. He began to get queer
+about the time he was reading that set of Sir Humphry Davy's Complete
+Works, with so much about electrics and the stars, and that sort of
+stuff. If we could only get him to quit this studyin' and stay
+out-o'-doors....
+
+_Warner_
+
+S'pose we clear out this hole--burn the books, and get rid of all these
+confounded wires and jars and fixings. I don't believe he saves a penny
+of the wages I give him for helpin' to ruin me. All he makes goes for
+this truck. We'll clear it out.
+
+_Mrs. W._
+
+I've thought of that, but we oughtn't to go too far. They're his anyhow,
+and I'm afraid----
+
+_Warner_
+
+Well, I'm not afraid! And I'll begin with this devil! (_Pauses over
+machine. Starts suddenly._) What's that? He's coming!
+
+_Mrs. W._ (_listening_)
+
+It's only Alice going to her room.
+
+_Warner_
+
+Perhaps we'd better see what the specialist says first.
+
+_Mrs. W._
+
+I know Dr. Bellows wants us to send Philo away. But I'm against that,
+first and last.
+
+_Warner_
+
+You wouldn't be if you'd listen to Bellows awhile. You know what he told
+me when I met him this morning? "Why, Warner," he says, "I never go to
+see the boy without taking a pair of handcuffs in my pocket. It's the
+quiet ones that go the wildest when they do break out."
+
+_Mrs. W._
+
+Oh, Hiram, it's not going to be so bad as that. Don't let him set you
+against your own flesh and blood. Just let me manage awhile. He needs to
+get stirred up about something--get his mind off this. I wish I hadn't
+stopped those letters he was getting from Reba Sloan when she went off
+to school two years ago.
+
+_Warner_
+
+But you said you'd rather see him dead than married to Sloan's girl.
+
+_Mrs. W._
+
+I meant it, too! But seeing your child dead is not so bad as seeing him
+crazy--and if Reba can save him----
+
+_Warner_
+
+How in thunder----
+
+_Mrs. W._
+
+She's a taking girl, Hiram--since she got back. If Philo gets his mind
+fixed on _her_, she'll soon have him forgettin' this. Why,--you remember
+for three months before we were married you couldn't think o' nothing
+but me.
+
+_Warner_
+
+Good Lord! Is that so, Mary Ann?
+
+_Mrs. W._
+
+I had to hurry up the weddin' to save your business. You were letting
+Jabe McKenny take all your trade right under your nose.
+
+_Warner_
+
+Sakes 'a' mighty! If I could come out of a spell like that, there's some
+hope for our poor chap.
+
+_Mrs. W._
+
+That's what I'm telling you!
+
+_Warner_
+
+But Reba's father--you going to have old fiddler Sloan in the family?
+
+_Mrs. W._
+
+He's come into some money now, and any gentleman can take an interest
+in music.
+
+_Warner_
+
+And the mother was that foreign woman.
+
+_Mrs. W._
+
+But she's dead. It's just as well Philo won't have a mother-in-law.
+
+_Warner_
+
+Reba'll have one, all right. If Philo stays queer it'll be hard on the
+girl, won't it?
+
+_Mrs. W._
+
+He'll not stay queer. If he gets that girl in his head there won't be
+room for anything else--for a while anyway. He'll be worse'n you ever
+was. You let me manage it, Hiram.
+
+
+(PHILO _is heard coming up the stairs. They listen in silence until
+    he enters. He is talking, not quite audibly, to himself, and
+    doesn't see them. Goes to table and stands by machine._)
+
+_Philo_
+
+Here--at last--I have caught the word ... the word of the stars.
+
+_Mrs. W._
+
+Philo!
+
+_Philo_ (_looking up_)
+
+Mother!... Father!... (_In alarm._) You haven't touched anything here?
+
+_Mrs. W._
+
+No, my son. I've just put the place to rights a bit. Dr. Seymour is
+coming, you know.
+
+_Philo_
+
+Yes. (_Walks the floor, meditating._)
+
+_Warner_
+
+You must come out of this dream, Philo.
+
+_Philo_
+
+It is not a dream! I am the only being in the world who is awake!
+
+_Mrs. W._
+
+My son!
+
+_Philo_
+
+Man sleeps--like the rocks, trees, hills--while all around him, out of
+the unseen, beating on blind eyes, deaf ears, numbed brain, sweep the
+winds of eternity, the ether waves, the signals from the deeps of space!
+
+_Warner_
+
+Hey, diddle, diddle!
+
+_Philo_
+
+Sleep-walkers all--the people in the streets, the shops--the mad people
+with their heaps of gold!
+
+_Mrs. W._
+
+Now don't work yourself up, Philo, with the doctor coming. You want to
+tell him about your machine.
+
+_Philo_
+
+Yes. He is a great man. He has studied these things. I will talk to him.
+He will not laugh.
+
+_Warner_
+
+Mary Ann, don't you think we'd better bring up some cider? It'll look
+more hospitable like.
+
+_Mrs. W._
+
+That city doctor won't care anything about cider.
+
+_Warner_
+
+My cider's good enough for anybody! And Dr. Bellows'll be sure to ask
+for it.
+
+_Mrs. W._
+
+Well, wait till he does. (_Looks uneasily about room._) Don't you think,
+son, that if you're going to take to having visitors here I'd better
+move some furniture up? You could have the haircloth sofa--the springs
+are broke anyway--and Alice says she don't want the wax flowers in the
+parlor any more. They're turnin' yellow, but you wouldn't notice it up
+here.
+
+_Philo_ (_clinching his hands_)
+
+Do what you like, mother, only don't take anything _out_. If anything
+happened to my work I believe I'd go crazy!
+
+(_The parents look at each other._)
+
+_Warner_
+
+Thought your work was tendin' the store.
+
+_Philo_
+
+Brother Will is more help there than I am, father.
+
+_Warner_
+
+You're right about that. Will's got a head on.
+
+_Mrs. W._
+
+You'd better go down, Hiram, and meet the doctors.
+
+_Warner_
+
+Alice'll show them up.
+
+_Mrs. W._
+
+Where's that strange smell comin' from? Do you work in the other room,
+too, Philo? (_Goes in, left._)
+
+_Philo_
+
+Father ... I'm sorry about the store ... I wish I could tell you ... but
+what's the use? You won't believe!
+
+(_Re-enter_ MRS. W.)
+
+_Mrs. W._
+
+Gracious! I couldn't breathe in there! Got to clear _something_ out
+before Reba comes up here. She'd have no respect for my housekeeping.
+
+_Philo_
+
+Reba?
+
+_Mrs. W._
+
+Reba Sloan. She's been asking if she couldn't come. She's just wild to
+see your machine.
+
+_Philo_
+
+Don't you ever let her up here, mother!
+
+_Mrs. W._
+
+But she asked me, Philo--and a neighbor's daughter, you know----
+
+_Philo_
+
+I thought she was away from home.
+
+_Mrs. W._
+
+Been back a month--walks all about right under your eyes. You ought to
+be _civil_, Philo.
+
+_Philo_
+
+I want to see Dr. Seymour. I should like to have him know what I'm
+doing. But if you're going to turn the whole village in here, I'll bar
+the door, that's all.
+
+_Mrs. W._
+
+My son, if you'd only interest yourself a little----
+
+_Philo_
+
+I'm not interested in anything nearer than thirty-five million miles!
+
+_Warner_
+
+What did I tell you, Mary Ann?
+
+_Mrs. W._
+
+I hear the doctors! Now, Philo, if you can't talk sense, don't say
+_anything_.
+
+    (_Enter_ SEYMOUR _and_ BELLOWS.)
+
+_Bellows_
+
+Good evening, Warner. How d' do, Mrs. Warner! My friend, Dr. Seymour.
+
+_Warner and Mrs. W._
+
+How do you do, sir!
+
+_Bellows_
+
+Philo, I've brought Dr. Seymour around to have a talk with you. He's
+down from New York for a day or two. Been sleeping any better?
+
+_Philo_
+
+Too much. I need all my time. I'm very glad to see you, Dr. Seymour.
+
+    (_All take seats._)
+
+_Mrs. W._
+
+I hope you'll excuse the looks of the room, doctor.
+
+_Seymour_
+
+It looks very interesting indeed to me, Mrs. Warner. The workshop of a
+student, and a busy one. (_To_ PHILO.) You've been working too hard, I
+see.
+
+_Philo_
+
+I'm tired, perhaps, but I am well. When a man makes a momentous
+discovery he is apt to be overwrought. He may not eat or sleep well for
+a time. He may even appear to be strange or mad.
+
+    (MRS. W. _coughs suddenly._)
+
+_Mrs. W._
+
+I'm afraid that's not a comfortable chair, Dr. Seymour.
+
+_Seymour_
+
+Quite comfortable, Mrs. Warner.
+
+_Mrs. W._ (_rapidly_)
+
+Philo is my oldest boy, and I never could keep him away from books.
+Will, my second son, is as steady in the store as his father himself,
+and Johnny is just fine on the wagon. As for Alice, there's not a neater
+all-round girl to be found anywhere. They're healthy, sensible children,
+every one of 'em, and don't care what's inside any book in the
+world--but Philo was just bent on going to college----
+
+_Seymour_
+
+A very natural bent for an ambitious boy.
+
+_Bellows_
+
+Tell us about the discovery, Philo, my lad.
+
+_Philo_ (_rising and walking slowly up and down the room_)
+
+I think I will. It will be another experiment. I know what the effect
+will be on Dr. Bellows. He is an old friend of mine--but you, sir, are a
+stranger. I should like to try your mind and see if you are awake or
+asleep.
+
+    (BELLOWS _winks toward_ SEYMOUR, _who takes no notice, but gives_
+    PHILO _careful attention._)
+
+_Seymour_
+
+I hope I shall not disappoint you.
+
+_Philo_
+
+I believe we have some points of view in common, for your profession
+needs to take note of many problems connected with both evolution and
+electricity. I have been a reader of general science for many years.
+The fact that on the earth we have had a slow evolution from a monad
+to a man contains a promise of further development of man into--let us
+say an angel.
+
+_Bellows_
+
+Not very soon, I guess.
+
+_Philo_ (_sharply_)
+
+Hardly in your day, doctor. You needn't worry about the fashion in
+wing-feathers.
+
+_Seymour_
+
+Go on, Mr. Warner.
+
+_Philo_
+
+In others of the many millions of globes about us in space, a similar
+evolution is going on, and in some the evolution is less advanced than
+in ours, in others incomparably more advanced.
+
+_Seymour_
+
+We may admit that.
+
+    (BELLOWS _looks to_ WARNER _for sympathy, and shakes his head._)
+
+_Philo_
+
+We have reached a stage when we have begun to peer out into the stellar
+depths and question them. We are beginning to master the light and the
+lightning, to measure the vastness of space, to weigh the suns, to
+determine the elements that comprise them, to talk and send messages
+thousands of miles without wires. Each year uncovers new wonders,
+infinitely minute, infinitely great.
+
+_Seymour_
+
+True,--all true.
+
+_Philo_ (_becoming more repressed and tensely excited as he goes on_)
+
+The dreams of the alchemists are being realized. That machine yonder
+detects the waves from a millionth of a millionth of a milligramme of
+radium.
+
+_Seymour_
+
+What!
+
+_Philo_
+
+I have invented a tuned electroscope that would be destroyed by such
+waves, so sensitive as to react only to waves from an inconceivable
+distance, beyond thirty-five million miles.
+
+_Seymour_ (_trying to take it in_)
+
+Thirty-five million miles!
+
+_Philo_ (_with great tension_)
+
+Three weeks ago I made this instrument, and ever since then, at regular
+intervals, there have been rhythmic flutterings of the goldleaf, regular
+repetitions, as if it were knocking at the door of earth from the
+eternal silences. I have watched it--the same measured fluttering--two
+beats--then three--then two--then four and a pause! It is a studied
+measure! It has meaning! When I first noticed it--the faint flutter of
+the goldleaf--and knew that any waves from a nearer point than
+thirty-five million miles would utterly destroy so delicate an
+instrument--my hair stood on end. I have watched it three
+weeks--alone--and you ask me why I do not sleep!... Look!
+
+    (_The doctors spring up electrified, and stare at the instrument._)
+
+_Philo_
+
+There it is again! Two beats--then three--then two--then four--now it
+is over!
+
+    (SEYMOUR _continues to stare at the instrument._ BELLOWS _subsides
+    into a chair, looking foolish._)
+
+_Seymour_ (_to himself_)
+
+Impossible!... (_To_ PHILO.) What was it you were saying? What
+did you see?
+
+_Philo_
+
+I saw what you saw--signals from a distance farther than the distance
+of the nearest planet to our earth.
+
+_Seymour_ (_shaken_)
+
+But I saw nothing. At least a slight movement in anything so sensitive
+might be due to many causes....
+
+_Philo_
+
+Yes! It is always the old story. Truths must be hammered into humanity!
+Branded in with flame, or driven in with sword and bullet!
+
+_Bellows_ (_starting up alarmed_)
+
+Hadn't we better be going, doctor?
+
+_Philo_
+
+Oh, no! Wait till you've talked me over. Decide whether I'm mad or not!
+If I'm a menace to the community! If I must be locked up! My father and
+mother are waiting to know. Don't go! Finish your work! (_Rushes into
+room, left._)
+
+_Bellows_ (_triumphantly to_ SEYMOUR)
+
+Well?
+
+    (SEYMOUR _hesitates, looks at the father and mother, then at_
+    BELLOWS, _and takes out his match-case._)
+
+_Bellows_ (_making a conquest of the obvious_)
+
+Warner, a little of that fine cider of yours would just finish off our
+chat.
+
+_Warner_
+
+Nothing better! (_Starting out, whispers to_ MRS. W.) Where's grandma's
+silver pitcher?
+
+_Mrs. W._
+
+I'll get _that_.
+
+    (_They go down-stairs._)
+
+_Bellows_ (_laughing_)
+
+She never lets him go to the cellar by himself.
+
+_Seymour_
+
+Not a drinker, is he?
+
+_Bellows_
+
+Oh, no! The pattern of a deacon. But she keeps her hand on.
+
+    (SEYMOUR _lights a cigar thinkingly._)
+
+_Bellows_
+
+No use to go over this case. It's clear enough. We'll have our
+cider--it's worth waiting for--then go to my office and fix up the
+commitment papers.
+
+_Seymour_ (_rubbing his hand slowly over his forehead_)
+
+To talk with such a patient sometimes bewilders the brain. He seemed so
+clear in his utterance--so rational----
+
+_Bellows_
+
+Funny, wasn't he? I almost believed it myself for a minute.
+
+_Seymour_
+
+It might be true.
+
+_Bellows_
+
+Hey?
+
+_Seymour_
+
+Perhaps we are all somnambulists moving about in this dream-world we
+call practical life. Behind this tough matter that takes so many shapes
+and colors, what strange secrets are hidden, just beginning to reach our
+dull senses--X-rays, radium emanations, wireless waves.
+
+_Bellows_
+
+Oh, they're natural enough now. Common sense has adopted them.
+
+_Seymour_
+
+Yes, we are easily satisfied. Give a mystery a name and that's enough
+for the most of us. But here and there are minds that must explore
+further; and if they discover something beyond the comprehension of us
+who stay behind, we call them mad.
+
+_Bellows_
+
+Well, none of your mind-puzzles for me. Give me something clear cut,
+like typhoid, or measles, an amputation, or new babies, something I can
+fix my eyes on. You can take care of the madmen--except when they're
+in my own village. I'm not going to have a boy like Philo gibbering
+around ready to break out wild any time.
+
+_Seymour_
+
+It's true he may be led into frenzy, or even self-destruction, but it
+will be from overwork and loneliness. I must have a talk with the
+parents----
+
+_Bellows_
+
+What do you expect _them_ to do? They're asking us for help. And _I'm_
+willing to give it to them.
+
+    (_Re-enter_ WARNER _and_ MRS. W. _He carries pitcher, she carries
+    tray with glasses._)
+
+_Seymour_ (_to_ BELLOWS)
+
+We'll see. As I say, the boy has been losing sleep, and giving his mind
+no rest.
+
+_Mrs. W._ (_holding tray while_ WARNER _pours cider_)
+
+Just what I say, doctor. He's studied himself sick.
+
+_Seymour_
+
+You must get him out of here, Mrs. Warner. (_Sipping cider._) Excellent,
+indeed!
+
+_Mrs. W._
+
+I'm doing my best.
+
+_Warner_ (_to_ BELLOWS, _who has drained his glass_)
+
+You're at home, doctor. Just help yourself.
+
+    (_He does._)
+
+_Seymour_
+
+What is his age?
+
+_Mrs. W._
+
+Twenty. He went early to college.
+
+_Seymour_ (_musingly_)
+
+The usual age. Twenty. (_Sighs._) The age of visions and enchantments.
+"The thoughts of youth are long, long thoughts."
+
+_Bellows_
+
+What are you saying, doctor?
+
+_Seymour_
+
+Just thinking. It's a healthy family, isn't it?
+
+_Mrs. W._
+
+I should say! Why, Will and Johnny and Alice----
+
+_Bellows_
+
+Best sort. The thoroughbreds of the town. Temperate, thriving, regular
+at church. Warner here was once county supervisor. (_Clapping him on
+shoulder._) Never had a better one.
+
+_Seymour_ (_to_ WARNER)
+
+And your parents?
+
+_Warner_
+
+Father was a sound, practical man. Stood flat-footed, I may say.
+
+_Seymour_
+
+And your mother?
+
+_Mrs. W._
+
+Law me, Hiram Warner thinks there was never anybody in the world like
+his mother. And there never _was_!
+
+_Seymour_
+
+That's good to build on. It is clear that your boy is ill, and the
+burden of his knowledge, whether truth or delusion, is far too great for
+him to bear. If you could interest him for even a brief time in ordinary
+life--(_smiling_) miracles that are too common to be disturbing--throw
+him with young people----
+
+_Bellows_
+
+You don't mean you won't sign the commitment papers!
+
+_Seymour_
+
+Just that. I shall not sign them.
+
+_Mrs. W._ (_gratefully_)
+
+Oh, doctor!
+
+_Bellows_
+
+After what you saw here with your own eyes? He's completely gone off!
+
+_Seymour_
+
+The boy may be right. Under this tiny consciousness of ours lie vast
+fields of subconscious intelligence as yet unexplored. Beyond our earth
+are still greater mysteries, unimaginable, unthinkable.
+
+_Bellows_ (_in disgust_)
+
+And I counted on your common sense!
+
+_Seymour_
+
+Common sense is itself too frail and uncertain a thing to be a criterion
+of sanity. The common sense of yesterday is to-day's folly, and our
+present common sense will be the madness of to-morrow.
+
+_Bellows_
+
+Well, I'll be--I'll wait for you down-stairs, doctor. (_Exit._)
+
+_Seymour_
+
+The lad ought not to be in there alone. (_Goes to door._) Philo, my boy!
+
+    (PHILO _comes out. He is extremely pale, his black hair pushed
+    from his forehead, and his eyes burning, but his manner is calm._)
+
+_Philo_
+
+Well, am I a free man?
+
+_Seymour_
+
+You are free, Philo.
+
+_Philo_ (_perfunctorily_)
+
+Thank you, doctor.
+
+_Seymour_
+
+But you must have rest from this work. These subjects are too
+overwhelming for a sane brain to carry without harm. This attic is
+gloomy and the atmosphere unhealthy. You must have a complete change.
+
+_Philo_
+
+I see. That is your answer to my discovery. (_Turns suddenly to_
+WARNER.) And what do you think of it, father?
+
+_Warner_
+
+I don't seem to get hold of it, somehow, Philo. (_Crosses to machine and
+stares at it._) What's the good, anyhow? They're too far away.
+'Twouldn't help business.
+
+    (PHILO _gives a queer laugh._ WARNER _opens door._)
+
+_Warner_
+
+I'll see you down-stairs, doctor. (_Exit._)
+
+_Philo_ (_turning to_ MRS. W.)
+
+And you, mother?
+
+_Mrs. W._ (_bustling up and gathering tray and glasses_)
+
+I've got to set my bread. (_Crosses to machine and stares at it, holding
+tray._) What'll we come to if folks in the stars begin pesterin'? We've
+got enough to 'tend to right here. (_Goes out muttering._) Got to set my
+bread.
+
+    (SEYMOUR _and_ PHILO _look at each other and smile._)
+
+_Seymour_
+
+Won't you come down, Philo?
+
+_Philo_
+
+No. It's livelier for me up here. More to think about. But don't worry
+about me, doctor. I know this is the end. If I can't convince you, then
+all the world must think it hallucination.
+
+_Seymour_
+
+I'm not unconvinced. I simply don't know. And I'm deeply interested. But
+you can't stand it, Philo. Get out of this. Be young. This is for older
+heads. You'll have plenty of time. Get out--do anything. Fall in
+love--fall in love--that will give you mysteries enough for a while.
+Yes, I mean it--and don't forget, my dear boy, that you've interested
+me.
+
+    (_Shakes hands with_ PHILO _and goes down._ PHILO _listens until
+    he has reached the foot of the stairs._)
+
+_Philo_
+
+The heavens open--the suns speak--and he is--interested! (_Closes
+door._) Alone!... Fall in love! Light the candle and put out the
+stars!... (_Returns to his instrument._) ... It is still.
+
+    (_Steps are heard on the stairs, then a knock at the door.
+    He crosses softly to door and shoots the bolt._)
+
+_Voice_ (_without_)
+
+It's Reba, Philo! Won't you let me in?
+
+    (_He is silent, and steps retreat._)
+
+_Philo_ (_crossing to centre_)
+
+Reba! That folly's done with, thank God!... (_Begins walking._)
+Seymour.... I didn't know how much I was hoping from him.... It is hard,
+hard to go on alone. But I _must_! I can't turn back from that call.
+When a child cries we turn, and listen, and help. And this--_this_ is
+the voice of a world!
+
+    (_A knock is heard at door._)
+
+_Voice of_ WARNER
+
+Philo!
+
+_Philo_
+
+Buzz, buzz, old bee!
+
+_Voice_
+
+Come down, son!
+
+_Philo_
+
+Please leave me alone, father. I can't bear anything more to-night.
+
+    (_A pause, and_ WARNER _goes down._)
+
+_Philo_ (_coming to table_)
+
+I will work--work--work! (_Busies his hands._) Not a voice to help
+me--not a smile of hope--not a touch of sympathy. (_Sits still and
+despairing._) ... Perhaps the time is not ripe for larger knowledge.
+Nature and the Divinity that guides her must protect their new evolving
+creatures. A too sudden revelation and they might perish from sheer
+wonder.... Yes, truth must come softened, as a dream, to the man child's
+brain. Its naked light would sere and blind him forever.... But to me it
+has been given to see--to hear--and keep sane in the light. Oh, from
+what planet is the call? From what one of the hundred million spheres?
+How many centuries has it been sent outward to the deaf, the dumb, and
+the blind? And what is the word? Is it Hail? Help? Hope?... Or is it an
+answer? An answer to some signal of mine? How shall I know?... How shall
+I know?
+
+    (_There is a noise outside the window._ PHILO _does not look up._
+    REBA _appears and leaps lightly through the windows. Advances centre.
+    Her dress is of clinging black, relieved by a floating scarf of
+    cloudy white. She has a mass of blonde hair, and all the charms
+    properly belonging to her age, which is eighteen._)
+
+_Reba_
+
+Philo!
+
+_Philo_ (_turning_)
+
+Reba!
+
+_Reba_
+
+Don't be angry.
+
+_Philo_
+
+How did you get here?
+
+_Reba_
+
+The window. Don't you remember--you showed me how to climb up once--with
+a ladder--the tree--and the shed roof? Oh, the things you've forgotten,
+Philo!
+
+    (_He goes to door and unbolts it._)
+
+_Philo_
+
+You must go down, Reba. (_She does not move._) What will mother say?
+
+_Reba_ (_laughing_)
+
+She held the ladder for me.
+
+_Philo_
+
+Mother?
+
+_Reba_
+
+You've frightened her so. You mustn't bolt the door again. She's afraid
+you'll do something dreadful.
+
+_Philo_
+
+You were not afraid to come.
+
+_Reba_
+
+I like to take risks. Life's dull in this village.
+
+_Philo_
+
+How you've changed, Reba!
+
+_Reba_
+
+It's taken you long enough to find it out. I've been back a month.
+
+_Philo_
+
+You'd better go down. I'm very busy, and I've had a long interruption
+this evening.
+
+_Reba_
+
+I'm going to interrupt some more. Dr. Seymour says it's good for you.
+
+_Philo_ (_angrily_)
+
+Dr. Seymour knows you've come?
+
+_Reba_
+
+Yes. He said you might like the surprise. Don't you like it, Philo?
+
+    (_Comes near him._ PHILO _turns away and busies himself about
+    the table and shelves as if he meant to ignore her utterly._
+    REBA _watches him, then goes to window and takes a large apple
+    from the ledge. Comes back._)
+
+_Reba_
+
+I brought you an apple--such a love of an apple. There's a whole summer
+of sunsets in it. I climbed the tree myself.
+
+_Philo_ (_not looking_)
+
+Thank you; I don't eat.
+
+_Reba_
+
+Don't eat! Well, there it is! (_Throws it on the table. He jumps to
+protect his instrument._) You can _lick_ it when you're hungry!
+
+    (_He sits down and begins to work. She walks to other side of table
+    and picks up a book._)
+
+_Reba_
+
+Oh! Our old "Swiss Family Robinson"! The very one we read together! With
+our names in it! You've kept it all the time! (_Hugging it._) Dear old
+book! (_Turns the leaves._) Why--the leaves are half gone!
+
+_Philo_
+
+They're handy for cleaning my wires.
+
+    (_She throws the book down, and stands uncertain._)
+
+_Philo_
+
+Going, Reba? Good night!
+
+_Reba_
+
+No, I'm not going. This is my last chance. You'll bar the window
+to-morrow.
+
+_Philo_ (_determinedly_)
+
+Yes, I will.
+
+    (_He bends closely over his work. She lies across the table opposite,
+    watching his movements intently. He fumbles for a tool._)
+
+_Reba_
+
+The little one? Here it is!
+
+    (_Hands him a small wire tool. He stares at her face so near his
+    own, then takes the instrument and works confusedly. Jumps up and
+    tries to reach a jar on one of the shelves._ REBA _leaps onto a
+    chair, takes the jar and hands it down. He stares, and takes jar._)
+
+_Reba_ (_as he returns to table_)
+
+Ugh! These jars are so dirty, Philo. May I wash them for you?
+
+_Philo_
+
+Heavens, no!
+
+_Reba_
+
+Oh, _that_ makes you sit up! (_Hums a little, leaps down and begins to
+move the things on the table._) I'll make the table tidy for you, Philo.
+
+_Philo_ (_grabbing her hands_)
+
+Stop!
+
+_Reba_ (_sings, swinging his hands across the table_)
+
+"All around the mulberry bush----"
+
+_Philo_
+
+Let go!
+
+_Reba_
+
+Why, you're holding _me_!
+
+    (_He drops her hands and goes to window, as if intending flight.
+    She becomes subtle._)
+
+_Reba_
+
+Dr. Seymour says you've done something wonderful, Philo. Won't you show
+me your machine?
+
+_Philo_
+
+No.
+
+_Reba_
+
+But I _care_! I care more than anybody! I _want_ you to be great. I
+could sit by you all my life just watching you being great.
+(PHILO _smiles. She twirls over to him._) And I don't _like_ to
+be still, either.
+
+_Philo_
+
+But suppose people began to laugh at you as they do at me?
+
+_Reba_
+
+I wouldn't care. Show me the machine, Philo.
+
+    (_Takes his arm and they move back to table._)
+
+_Philo_
+
+There it is.
+
+_Reba_ (_hovering over it_)
+
+This is it. (_Throwing her head back._) Tell me about it.
+
+_Philo_
+
+Reba--your throat is--so white.
+
+_Reba_ (_bending suddenly over machine_)
+
+There's something moving.
+
+_Philo_
+
+So white.
+
+_Reba_
+
+Two--one--two, three----
+
+    (PHILO _goes to door and flings it open._)
+
+_Philo_
+
+Reba, go down!
+
+    (_She crosses to door, shuts it, and stands with her back against it._)
+
+_Reba_
+
+Not till we've had a talk, Philo. I've a right to it after what you said
+two years ago--when I went away to school. Have you forgotten it? Shall
+I tell you what you said?
+
+_Philo_
+
+No!
+
+_Reba_
+
+You said you loved me, Philo. And I believed it for two years. When I
+came back you were silent. I've tried to make you speak--I've got in
+your way--I've done everything nice girls don't do--because--I love you
+as much as you love _that_! (_Waves her hand toward the machine._)
+
+_Philo_
+
+Don't say it. It can't be true. No woman could love so much as that.
+(_Goes back to table._)
+
+_Reba_ (_following him_)
+
+I don't ask you to love me. But let me come here and sit by you
+sometimes. I could be happy then--though I don't _like_ to be still.
+I was going to a dance to-night.
+
+_Philo_
+
+A dance!
+
+_Reba_
+
+But I knew you were up here alone--and I had heard--oh, my dear!--that
+they were going to send you away. I couldn't bear it. I _had_ to come.
+Oh, Philo, they shall not send you away! Dr. Seymour says all you need
+is a new interest.
+
+_Philo_
+
+To dance, perhaps!
+
+_Reba_
+
+Well--why not? It is fun. We were to be in fancy dress, and I was going
+as Night. See--(_waving her scarf_) this is my cloud--and my hair is the
+moon! I washed it to-day so it would be fluffy. Just see how soft it is!
+
+_Philo_ (_touching her hair_)
+
+How fine! Will you give me a lock, Reba?
+
+_Reba_
+
+Oh, yes! Where are your scissors? Here! (_Takes scissors from table._)
+You cut it, Philo. (_He takes scissors._) Anywhere. It's curly at the
+neck and temples.
+
+_Philo_ (_cutting lock_)
+
+I don't want a curl. (_Puts hair carefully in table drawer._) I'm making
+a new machine and I need long hairs for some of the parts.
+
+_Reba_ (_raging_)
+
+You sha'n't have it! You sha'n't!
+
+    (_Tries to open drawer. They struggle. She gets her arms about his
+    neck._)
+
+_Philo_ (_pushing her off_)
+
+Your throat----
+
+    (_Kisses it. She clings to him, and he sits down, holding her on his
+    knee._)
+
+_Reba_
+
+I knew! I knew! Oh, Philo, you _haven't_ forgotten! You
+remember--everything!
+
+_Philo_
+
+Everything!
+
+_Reba_
+
+That day we went fishing and----
+
+_Philo_ (_laughing_)
+
+Forgot the tackle!
+
+_Reba_
+
+And that last evening in the orchard, when you said----
+
+_Philo_
+
+I love you!
+
+_Reba_
+
+Oh, you look just as you did then--so happy! I nearly died when I came
+home and saw the change in your face. It seemed to shut me out, like a
+great iron door. Philo.... You won't forget again?
+
+_Philo_
+
+Never!
+
+_Reba_
+
+And I may come every day?
+
+_Philo_
+
+Every day!
+
+_Reba_
+
+I'll help you, Philo. I'll give you all my hair. (_Lays her head on his
+shoulder._) And I'll let you work and not think of me at all. You can
+live with your stars----
+
+_Philo_ (_kissing her_)
+
+There are no stars!
+
+_Reba_ (_laughing_)
+
+I'll never be jealous again! (_Gets up._) Come! Let's see what the dinky
+thing is doing!
+
+    (_Goes to table._ PHILO _watches her, slowly repeating her name._)
+
+_Reba_
+
+What a little thing it is! And--there _is_ something fluttering!
+
+    (PHILO _crosses, still seeing nothing but the girl._)
+
+_Reba_
+
+See--I'm trying to count--two--three----
+
+    (_He looks down, and becomes transfixed._)
+
+_Philo_
+
+Oh, my God! They've changed the signal!... Look, Reba! Count the beats!
+Count for me! Count!
+
+_Reba_ (_confused_)
+
+Two--three--no, four----
+
+_Philo_
+
+Can't you _count_? Get away! (_Pushes her aside._)
+Two--three--four--three-- They have _changed_ it! Oh, I must answer!
+
+_Reba_
+
+Philo----
+
+_Philo_
+
+Go down!
+
+_Reba_ (_clinging to him_)
+
+I won't--I won't----
+
+_Philo_ (_putting her in a chair_)
+
+Sit there, then. And for God's sake be still! (_Returns to machine and
+counts under his breath._) It is true--it is true--and I am not ready! I
+am dumb, like all the world! I cannot let them know! (_Walks the floor,
+muttering_) But I will--I must. (_Crosses to window._) I must do
+it!--think of nothing else--nothing! I shall not sleep till it is
+done!... But they will call me mad--lock me up before I have finished,
+God, before I have finished!
+
+_Reba_
+
+Philo, listen!
+
+_Philo_
+
+It's the world's way ... to beat the spirit down ... the eager spirit,
+superbly sane, daring to pierce the barriers between heaven and earth!
+
+_Reba_
+
+I'll not sit here! (_She sits nevertheless._)
+
+_Philo_
+
+Oh, Truth-driven martyrs, seers of visions, prophets of the old world
+and the new, born out of your time to suffer by fire, by sword, and
+prison bars!
+
+_Reba_ (_cooingly_)
+
+Dear Philo!
+
+_Philo_
+
+I too shall join you! Forerunners of the waking spirit of the world!
+
+    (REBA _gets before him as he walks. Completely absorbed, he puts
+    her aside, absently but gently, as if she were a kitten he did not
+    wish to hurt._)
+
+_Philo_
+
+I must finish it--I must--before they beat me down! (_Pauses by
+machine._) There is no one but me to do it. If I fail they may have
+to wait another million years--out there--working, waiting. (_Resumes
+walk._) I shall not fail. I have gone too far. God will take my part
+now. Be it His own eternal sign, I will answer it!
+
+_Reba_
+
+I'll make you see me!
+
+    (_Runs to table, leaps upon it and begins a dance among the wires
+    and bottles. He is stunned for a moment, then rushes to her, seizes
+    her waist with both hands, lifts her up, and flings her to a chair._)
+
+_Philo_
+
+Sit there, you dragon-fly! Or I'll crush you! (_Goes to window, as if
+for breath and air. Recovers poise._) Let them think me mad. Up here I
+shall work it out. And I shall not be alone. Earth will not hear me, but
+the heavens will listen. (_Holds his hands toward the stars._) My only
+friends!
+
+_Reba_
+
+Crush me! (_She steals up to the table, seizes a large book, and brings
+it down with utter destruction upon his machine._ PHILO _turns and sees.
+They face each other. She shrinks, terrified._) Don't, Philo! (_Kneels,
+throwing back her head, showing the long line of her throat._) Forgive
+me! It was driving you mad! I wanted to save you! Don't look like that!
+Forgive me, Philo!
+
+_Philo_
+
+Your throat--is--so white!
+
+    (_Seizes and chokes her. As he seizes her she gives a cry of terror._
+    WARNER, MRS. W., SEYMOUR, _and_ BELLOWS _rush up the stairs and
+    enter._ PHILO _takes his hands from the girl's throat and stands
+    apart. She lies motionless._)
+
+_Warner_ (_roaring_)
+
+You've managed, Mary Ann!
+
+_Bellows_ (_excitedly_)
+
+Who's right, now, Seymour?
+
+    (SEYMOUR _bends over_ REBA, _listening for her heart-beat._)
+
+_Warner_ (_choking_)
+
+A hanging in the family!
+
+_Mrs. W._
+
+Is she--dead?
+
+_Seymour_
+
+No. It is chiefly fear. (_Works over her body._)
+
+_Philo_ (_to himself_)
+
+Poor little bird! Poor little bird!
+
+_Bellows_ (_taking a pair of handcuffs from his pocket and offering them
+to_ WARNER)
+
+Better clap these on him. We're none of us safe.
+
+_Philo_
+
+Handcuffs, doctor? I'll make no trouble.
+
+    (_Holds out his hands and_ BELLOWS _fastens handcuffs._)
+
+_Bellows_
+
+It's for your own good, Philo.
+
+_Seymour_
+
+Our mistake--our mistake! Poor boy!
+
+_Bellows_
+
+Poor _girl_, I should say!
+
+_Seymour_ (_lifting_ REBA)
+
+I'll take her down-stairs. (_Carries her to door._) I shall need you,
+Mrs. Warner.
+
+    (MRS. W. _follows, weeping and looking back at_ PHILO.)
+
+_Philo_
+
+I'm all right, mother.
+
+_Mrs. W._
+
+_All right._ Oh, God help him! (_Exit._)
+
+_Bellows_
+
+Clean mad!
+
+_Philo_ (_crosses, and looks down on the wreck of his machine_)
+
+Silent ... but I have heard! The divine whisper has reached me!
+
+_Bellows_
+
+That's still on his mind, you see. Better leave him up here till
+morning. Seymour and I will fix up the papers and take him off
+to-morrow. I'm sorry, Philo, but you know it's for the best.
+
+_Philo_
+
+I'll make no trouble. Don't worry, doctor.
+
+_Bellows_ (_to himself, going_)
+
+Lord, he's cool! (_Advising_ WARNER, _in cautiously lowered
+tone._) That's the way with the worst of them. (_Exit._)
+
+_Warner_
+
+Want me to stay with you, Philo?
+
+_Philo_
+
+No, father.
+
+_Warner_ (_relieved_)
+
+Good night, son. (_At door._) Mother'll send up some blankets. (_Exit._)
+
+_Philo_
+
+Blankets!...
+
+(CURTAIN)
+
+
+
+
+
+
+THE JOURNEY
+
+BY
+
+OLIVE TILFORD DARGAN
+
+
+
+
+CHARACTERS
+
+
+  PRINCESS WONG FE, _bride of Yu Tai Shun_
+  SO SIU, _her friend_
+  PRINCE CHING
+  MAKURO, _of Japan_
+  YU TAI SHUN, _of all nations_
+
+
+
+
+THE JOURNEY
+
+
+SCENE: _Room in a farmhouse above Siangtan, where the Siang flows among
+    hills. The rear of room has wide exit to a porch, beyond which show
+    the tops of pear and peach trees in full bloom. Steps lead down to
+    the orchard, and the orchard slopes to the river._
+
+    WONG FE _and_ SO SIU _present._
+
+
+_Wong Fe_
+
+My lily So Siu, has not the dishonorable color left my wretched cheeks?
+Is not my face like the dough before it goes into the oven?
+
+_So Siu_
+
+Oh, my golden Fe, pearls in the dawn are no fairer!
+
+_Wong Fe_
+
+But these cow-girl's tatters! Would not my gown of meadow-green mist
+with the peach-gold underrobe make me less haggard?
+
+_So Siu_
+
+When your lord, Yu Tai Shun, returns from the hills he will say----
+
+_Wong Fe_
+
+Oh, what will he say?
+
+_So Siu_
+
+That the fairies have been your friends. They wove for you this robe of
+rose-leaves, and threw over you a gray cloud from the Witch's Mountain.
+
+    (WONG FE _trips gaily, then with sudden surrender begins to weep._)
+
+_So Siu_
+
+Have no shame, beloved of miserable So Siu. Water must follow the fire.
+I am only a maid, but I know that when the honeymoon is without tears
+two pigs have married. Ah, wet my sleeve, my dear one, and not thine
+that will lie on the neck of the golden lord, Yu Tai Shun.
+
+_Wong Fe_
+
+When I awoke this morning the sunlight was on my pillow, but Yu Tai Shun
+was gone. All day I have not seen his face. And now the last swallow has
+left the sky.
+
+_So Siu_
+
+Why did Prince Ching and the young Japanese choose this day to be guests
+of Yu Tai Shun? It is sad for the wife when the friends of her lord find
+her alone. Yu Tai Shun will beat his doorstep for not calling him.
+
+_Wong Fe_
+
+He will! Prince Ching is almost his father. May his age climb as the
+hills, always nearer the sky!
+
+_So Siu_
+
+Indeed, you would be sitting alone in a cloud of sighs, not fast wedded
+to the bringer of dawn, Yu Tai Shun, if Prince Ching had not won his way
+to your brothers, the mighty princes, Wong Li and Wong Sen.
+
+_Wong Fe_
+
+I kiss his honorable dust! He shall live with my ancestors! And Makuro,
+the young Japanese, I shall love him too, for he is most dear to Yu Tai
+Shun. Do they still sit in the orchard?
+
+_So Siu_
+
+They have not moved, nor paused in their talking. Do you not hear? Like
+bees that cannot choose their flower. It may be that they have brought
+news to Yu Tai Shun, and his gloom will pass.
+
+_Wong Fe_
+
+No, I feel it was their coming, like a far cloud, that shadowed him. Oh,
+my So Siu, it will be darker now!
+
+_So Siu_
+
+I have sent tea and cakes to the orchard.
+
+_Wong Fe_
+
+It shall not be dark. Do not the fairies of the sun weave a white world
+out of the threads of midnight? I will pray to them. We must be merry,
+my lily So Siu.
+
+_So Siu_
+
+And why not?
+
+_Wong Fe_
+
+I shall dance to-night before Yu Tai Shun. (_Tripping._) Is it not good
+to have feet? My honorable and glorious mamma weeps when I dance, but it
+is because she was born too soon and they crippled her beloved feet.
+
+_So Siu_
+
+How glad I am that the old world is gone when only the painted
+flower-girls could do the happy things!
+
+_Wong Fe_
+
+And it was my own lord, Yu Tai Shun, who made the earth new again!
+
+    (_She listens, suddenly still._)
+
+_So Siu_
+
+He is here!
+
+_Wong Fe_
+
+My darling So Siu....
+
+_So Siu_
+
+I go! (_Darts from room, right._)
+
+_Wong Fe_
+
+I would be dancing, but I cannot move. There are anchors of fear on my
+toes.
+
+    (_Enter_ YU TAI SHUN, _left. He is dressed in gray flannels, of
+    American pattern._)
+
+_Shun_ (_stopping before_ WONG FE)
+
+I left a witch-cloud on the hills, and it has dropped down before me.
+
+    (_She courtesies to the floor. He snatches her up._)
+
+_Shun_
+
+No! I want my Western bride to-night.
+
+_Wong Fe_
+
+But this is a Chinese orchard, and it is springtime. Let me worship a
+little.
+
+_Shun_
+
+Never, my mountain bird!
+
+    (_Draws her to the steps, where they sit._)
+
+_Wong Fe_
+
+You are weary, beloved?
+
+_Shun_
+
+Not now. I have my rest. To-morrow you shall go with me.
+
+_Wong Fe_
+
+Up the mountain?
+
+_Shun_
+
+I will show you where I dropped the storm in my heart.
+
+_Wong Fe_ (_timidly_)
+
+Will it come again, Yu Tai Shun?
+
+_Shun_
+
+Nothing can wake it again.
+
+_Wong Fe_
+
+Then indeed I am your bride!
+
+_Shun_
+
+Heart of my body art thou, Wong Fe!
+
+    (_Holds her to his breast a moment, looking distantly out. Suddenly
+    sees his friends approaching._)
+
+_Shun_
+
+We have guests?
+
+_Wong Fe_ (_quickly springing up_)
+
+Forgive me! Your friends are here. Prince Ching, and Makuro, from Japan.
+
+_Shun_
+
+Makuro?
+
+    (_He throws up his right hand. In a moment_ PRINCE CHING _and_
+    Makuro _are seen advancing from the orchard_.)
+
+_Wong Fe_
+
+They have had my welcome. I leave you. (_Crosses to right, reluctantly._)
+
+_Shun_
+
+Return to us soon, my gold of the morning.
+
+    (_She goes out_. CHING _and the Japanese enter._)
+
+_Ching_
+
+We have waited, Yu Tai Shun. We knew that the setting sun would turn a
+bridegroom home.
+
+_Makuro_
+
+Master!
+
+_Shun_
+
+My friend! What brings you to China?
+
+_Makuro_ (_with steady gaze_)
+
+You know. I have come for you.
+
+_Shun_ (_stubbornly, as if chidden_)
+
+My work is done. China is free.
+
+_Ching_
+
+Her slavery is only beginning. You may hide your body but you cannot
+bury your mind under peach-blossoms.
+
+_Shun_
+
+The republic is established.
+
+_Ching_
+
+But not a democracy.
+
+_Shun_
+
+My work is done. Twenty years have I given to the cause of the people.
+Now until I die I will toil and sing in the fields of my fathers.
+
+    (_They have gradually come to centre of room, which servants have
+    lighted_. WONG FE _silently returns, but at a sign from_ CHING
+    _she retreats and remains by wall, right, participating in the
+    scene that follows, though_ YU TAI SHUN _and_ MAKURO _are unaware
+    of her presence._)
+
+_Makuro_
+
+Do you remember when I stood here once before, Yu Tai Shun?
+
+_Shun_
+
+Can you ask me that, Makuro?
+
+_Makuro_
+
+Why not, when you seem to have forgotten all that passed between us? I
+went from that meeting with an imperishable fire in my heart. I return,
+and the light that kindled mine is dark. We stood here, and the words
+you spoke were brighter than the lamps of Siangtan that we looked down
+upon. Shall I repeat them, Yu Tai Shun?
+
+    (_Shun is silent._)
+
+_Ching_
+
+I would hear them, Makuro.
+
+_Makuro_
+
+The master said: "Forty centuries has China been content to plough, to
+sow, to reap, and with her harvest support one-quarter of the human lives
+on our planet. Drudgery has been her lot, frugality her virtue. Only so
+had she lease of breath. Now she is to unlock her mines, build ships,
+and roads of commerce, and with the magic of machinery set her people
+free. If that magic is owned by a few, there will be no freedom, but
+a slavery whose agony no man can tell. Every owner will be a monarch
+greater than the Son of Heaven to whom we bowed. We cannot shut them out
+by war. We can do it solely by making China a true democracy where the
+people themselves own the magic tools and the great ways to the markets.
+To do this is the work of all who love Freedom, and I know no other
+goddess." Were these your words, Yu Tai Shun?
+
+_Shun_
+
+Yes ... my words.
+
+_Makuro_
+
+That was five years ago. From all parts of the earth come powers
+fulfilling your fear. Leagued with our own purblind princes and dwellers
+in the dusk, they hover over China, waiting for war and bribery to
+dismember her. And you say your work is done. Yu Tai Shun, where have
+you buried my master?
+
+_Ching_
+
+In the heart of the Princess Wong Fe.
+
+_Shun_ (_rallying_)
+
+May we not be too stern in our judgment of the lords of steam and iron?
+Lei Kung Sang and the British minister of the So-nan mineral beds have
+built houses for the people.
+
+_Ching_
+
+And have taken their land. Men who plucked their own fruit, and took
+food from their own gardens, now cannot eat until they have torn new
+treasure out of the earth for the kind Briton and the good Lei Kung
+Sang.
+
+_Shun_
+
+Their days of work were always long and weary.
+
+_Ching_
+
+But they toiled as free men in the sun, and as free men sang from the
+river-boats when the moon rose. In America, where there is still much
+land and few people, there are places where children go down into the
+mines and never see the sun except on the day they call "holy." How will
+it be with China's four hundred millions, when there are not even waste
+places where those who would flee may gather? For even her great
+untilled spaces are being covered by the foreign hand.
+
+_Makuro_
+
+Slavery will be born again with depths the ancients never knew.
+
+_Shun_
+
+But the spirit of brotherhood is growing.
+
+_Makuro_
+
+Power has no brothers! It was you who taught me that, Yu Tai Shun.
+
+_Shun_
+
+Do you forget that we built our republic with the aid of these same
+princes of power?
+
+_Ching_
+
+We forget nothing. They let us beat down the throne because they could
+not use it--a rigid tradition--but the republic--_they_ are the
+republic!
+
+_Shun_
+
+Can we not trust a little? In our greatest need, alien hands have
+reached out to help us. And we have true hearts among our Chinese
+lords. Not all have joined with the invader to herd the people into
+slave-yards. Pei Chen-Ping and Sa Yi are most liberal. You, Prince
+Ching, and those you gather to you, have hearts like the rising sun. And
+the noble princes of the house of Wong--have they not given me my bride?
+
+_Ching_
+
+Ay, when your sighs had blown around the world for seven years, they
+yielded her. You were a power to be checked, and they set a woman in
+your path.
+
+_Shun_
+
+No!
+
+_Ching_
+
+It was a Japanese from the Fushun collieries, a Russian prince of the
+Northern railways, a French buyer of Yunnan copper, a British ship-baron
+of Hongkong, and the Chinese owners of the unworked gold veins of
+Szechuan, who went to the brothers of Wong Fe and said: "Give Yu Tai
+Shun his bride."
+
+_Shun_
+
+It was you who spoke for me!
+
+_Ching_
+
+You had no father, and in my heart you were my son. I spoke for you
+because I believed in you. I did not think that any bribe could lure you
+from us. Yours was a soul that we thought would be a torch to every
+nation of earth. And you choose to go out like a candle in the breath of
+a woman.
+
+    (YU TAI SHUN _is bowed and silent._ MAKURO _touches his sleeve._)
+
+_Makuro_
+
+Come with us, master.
+
+_Ching_
+
+In half an hour the boat will stop at the orchard pier for Makuro. He
+starts for Japan. It is there you are needed.
+
+_Makuro_
+
+I come from our friends with their summons. Japan's oligarchy of
+traders, with every means known to power--school, religion, racial pride
+and hate--is fostering the spirit of war. All the seeds of the jungle
+are being deliberately sown once more in men's hearts. They are
+preparing Japan to hold the largest share of an industrially broken
+China and weld her millions into one instrument of hate against the
+West.
+
+_Shun_
+
+A pigmy's dream!
+
+_Ching_
+
+A dream that will come true if our giants continue to sleep.
+
+_Makuro_
+
+It is the menace of America that Japan holds before her people till
+their hearts roll with fear, their brains grow sick with rage. America,
+who has insulted us with exclusion--who has snatched an island chain
+from our Eastern waters, and shot, starved, imprisoned thousands
+ignorant enough and brave enough to resist her. _That_ is the America my
+people are taught to believe in. But you know a different America, where
+people love honor and hate war--whose religion is love thy neighbor as
+thyself. Come, teach them of that America! You are known in a million
+homes of Japan. You have taught us to love you, and where we love, we
+listen.
+
+_Shun_ (_with great effort_)
+
+I cannot go. If I part from Wong Fe the blood will leave my veins and
+flow back to her.
+
+_Makuro_
+
+Then take her with you.
+
+_Shun_
+
+You know what this journey means.
+
+_Ching_
+
+Yes, you must go free. With such a weight you would be useless. I will
+take Wong Fe to her brothers.
+
+_Shun_
+
+I shall hold her forever!
+
+_Ching_
+
+You think joy can last so long? (_To_ MAKURO, _shrugging._) A boy yet!
+
+_Shun_
+
+In Japan you have my young scholar, Onoto. All my knowledge I have given
+him. In his heart is my purpose, his eyes hold my vision.
+
+_Makuro_
+
+Onoto!
+
+_Shun_
+
+His years are younger, his flame will leap higher. I am only one who
+fails you. In every nation our numbers are growing. Do not fear for
+humanity. Our brothers are everywhere.
+
+_Makuro_
+
+You say Onoto?
+
+_Shun_
+
+He has the gift of the shining word--the word that draws the heart as a
+full moon at sea draws the eye. I can turn my back on the world and rob
+it of nothing, for I have given it Onoto.
+
+_Ching_
+
+How long have you been chirping here like a cricket under a leaf, with
+no news from the roadside?
+
+_Shun_
+
+It is three weeks to-day since I brought Wong Fe to the door of my
+fathers.
+
+_Ching_
+
+Three weeks! On the very day of your joy Onoto was thrown into prison.
+
+_Shun_
+
+They would not dare!
+
+_Makuro_
+
+They did dare.
+
+_Shun_
+
+In prison--Onoto!
+
+_Makuro_
+
+No, he is not now in prison.
+
+_Shun_
+
+Free?
+
+_Makuro_
+
+The enmity of the powers was bitter. Everywhere he was sowing the seed
+of peace. In many a house the ancestral sword was broken at his bidding.
+
+_Shun_
+
+But he is free?
+
+_Makuro_
+
+Yesterday (_glances out at the stars_), at this hour, he was shot.
+
+_Shun_ (_slowly comprehending_)
+
+Then I have been twenty-four hours dead.
+
+    (_He steps uncertainly out to the little porch. They gaze at the
+    floor, respecting his grief_. WONG FE _makes a motion to follow
+    him._ CHING _stops her with a gesture, and she shrinks back._ YU
+    TAI SHUN _re-enters._)
+
+_Shun_
+
+Your mercy, friends. (_Crosses left, to exit._)
+
+_Ching_
+
+You will go with us now?
+
+_Shun_ (_turns and hurls the word_)
+
+No!
+
+    (_An instant of silence follows his exit, then_ WONG FE _comes
+    forward._)
+
+_Wong Fe_
+
+Peace to your hearts, honorable friends of Yu Tai Shun! He will depart
+with you.
+
+_Ching_
+
+Not yet. We must wait. Invisible chains cannot be broken. But they will
+disunite of themselves. Then he will come.
+
+_Wong Fe_
+
+I will send him with you to-night.
+
+_Ching_
+
+_You_ send him?
+
+_Wong Fe_
+
+Do you think I will divide his life so that the two halves can bear no
+fruit? That I will wait until he hates me for that ruin?
+
+_Ching_ (_with laughter_)
+
+Hates you, oh princess!
+
+_Wong Fe_
+
+Wait till I must glean in his heart behind a spent passion?--like a poor
+widow in the track of a grain-cart?
+
+_Ching_
+
+The coral of your lips will defeat their command, Wong Fe. Near you he
+is a dry fagot seized by a flame.
+
+_Wong Fe_
+
+I tell you he will go! Wait in the orchard until you hear the first
+whistle of the boat. Then come for him. He will be ready. Go, honorable
+friends! He is returning.
+
+_Ching_
+
+It is useless. Your words may bite like winter, but his eyes will see
+only the Spring morning.
+
+_Wong Fe_
+
+Go, I beg you, go!
+
+    (_They pass out down the steps of porch._ WONG FE _hurries to a small
+    table, opens a lacquered box and takes from it a stiletto, which she
+    hides in the folds of her sleeve. She is dancing as_ YU TAI SHUN
+    _enters, and sings as she dances._)
+
+  The thousand odors of Spring
+  Are the thousand arms of love.
+  They find thee in the valleys,
+  On the crest of the hills they reach thee;
+  Till Spring bear no fragrance
+  Thou canst not escape them,
+  The thousand arms of love!
+
+  The orchard pool is a pillow,
+  A pillow for the twin lotus,
+  And the wings of the flying geese
+  Are warm in the air of heaven;
+  They drop to the shadowy lake-sedge,
+  For sweet looks the earth from the roads of the sky,
+  And in heaven are no cool grasses.
+
+  Ever listening
+  Are the leaves of the slim dryanda,
+  Whose heart is the harp of the Spring-wind.
+  A dryanda-tree is my lover,
+  And my thoughts are the leaves that listen.
+  Autumn, Autumn, touch not my leaf-thoughts!
+  Cast them not down when the pool is grey,
+  And the teal no more sail two and two
+  With their breasts above one shadow.
+
+
+_Shun_
+
+Come to me, Wong Fe! I feel that you have blown through my door like
+a rose petal, and will drift away again, leaving me not a footprint
+to kiss.
+
+_Wong Fe_
+
+Neither in life nor in death shall I leave you, my lord. Though I seem
+to die, and these graces that please you fall to earth like
+willow-blossoms, it is not I that will lie on the sand.
+
+_Shun_
+
+Why do you speak of death, Wong Fe?
+
+_Wong Fe_
+
+Because I am so happy. The sages say that we can have no fairer fortune
+than to die in our happiest moment.
+
+_Shun_
+
+Do not speak of death. The word blisters the air, though your lips be as
+two drops of June rain.
+
+_Wong Fe_
+
+But how sweet to die when I am fairest in your eyes! Every year, at this
+time, you would walk down the peach-flower lanes and recall the glow of
+my cheek. Oh, Heaven, let me not be a faded wife in the blooming time of
+the year!
+
+_Shun_
+
+Thy soul, Wong Fe, is the flower of my worship.
+
+_Wong Fe_
+
+And death would give my soul wholly to you. I should be near you always.
+Then morning would not call you to the peaks, leaving me behind in the
+tear-dew.
+
+_Shun_
+
+To-morrow we shall go together. Your shadow will be with mine on the
+rocks, and under the fir-trees we shall forget the valley.
+
+_Wong Fe_
+
+And the world? Oh, my lord, there are distances farther than the peaks
+of Siang, and they will call you from me. It cannot be that you who have
+known all lands will be content with one. I would see the strange people
+you have made your brothers, would listen to their dreams, and read the
+future with their hearts. There are dangers you would not let my body
+share--I do not ask that--but my soul, you could forbid it nothing.
+
+_Shun_
+
+What have you heard? What has Makuro said to you?
+
+_Wong Fe_
+
+What should he say but that the cakes were good, and the tea had the
+flavor of the fields of Hunan?
+
+_Shun_
+
+We must join our friends. Where do they wait?
+
+_Wong Fe_
+
+They listen for the boat that will stop at the foot of the orchard. Why
+do they go? Old friends should not be so brief in greeting. Could they
+not stay one night?
+
+_Shun_
+
+No--no. (_Sits down_.) They must go.
+
+_Wong Fe_ (_laying her hand on his shoulder_)
+
+What voice dost thou hear, and wilt not answer?
+
+_Shun_
+
+Nothing--nothing.
+
+_Wong Fe_
+
+You will not long be deaf between the beating of our two hearts. You
+will hear and go. That is why I long for the death-fairy to come in my
+hour of happiness. You have joined with strong men to lift a heavy yoke
+from the world. My smiles cannot feed your spirit. Go with your friends.
+Let the whistle of the boat part us.
+
+_Shun_
+
+The cassia-tree may draw itself from earth, and walk on feet of roots
+through the world, but I cannot divide my days from yours, for you are
+myself, Wong Fe.
+
+_Wong Fe_ (_resigned_)
+
+I believe you, my lord. We shall not part. But what joy it would be to
+die now in your presence, while the love-cup is full! Oh, I could not
+meet death alone! You know the poor ghost in the song who died in the
+absence of her lover? She is always pleading to be allowed to die again
+when his arms may be around her. So would my ghost go wailing if I lost
+your kiss in death. (_Touches his cheek_.) Is that a tear, Yu Tai Shun?
+I torture you because I am so happy! You shall laugh, my prince! I know
+a new game we shall play. Little So Siu taught it to me to-day. She says
+it is an American game. We call it "Guess behind you!" You turn your
+back--like that--and you must tell me what I am doing. When you miss
+three times, then I shall tell you what you must pay. Now--what is it
+I do?
+
+_Shun_
+
+You throw me a kiss.
+
+_Wong Fe_
+
+So I do! And now, my soul's light?
+
+    (_Takes stiletto from her sleeve. The whistle of the boat is heard.
+    He turns. She hides stiletto._)
+
+_Shun_
+
+Our friends are going.
+
+_Wong Fe_
+
+But wait--there is time. You must guess once more! Oh, you are slow as
+ten turns of a river! There!
+
+    (_Turns his head with her hands, then snatches the stiletto, stabs
+    herself and falls. He turns, kneels dazedly, and takes her in his arms
+    as she dies._ CHING _and_ MAKURO _enter._)
+
+_Ching_
+
+The boat-- (_Stops in consternation._)
+
+_Makuro_ (_softly_)
+
+Master, I did not ask this price.
+
+_Shun_ (_rising_)
+
+It is paid.
+
+(CURTAIN)
+
+
+
+
+
+
+EVERYCHILD
+
+A PLAY OR PAGEANT
+
+BY
+
+FREDERICK PETERSON
+
+AND
+
+OLIVE TILFORD DARGAN
+
+
+
+
+DRAMATIS PERSONAE
+
+_Scene I. The Garden of Joy_
+
+    Cho-Cho The Clown Everychild Mother, Father, and dancing children
+
+_Scene II. Sweat-shop_
+
+    Father, Mother, three children, Everychild
+
+_Scene III. The Farmstead_
+
+    Jim the Father, Mary the Mother, Billie, Tom, and Rosie, their
+    children. Cho-Cho and Everychild
+
+_Scene IV. The Coal-mine_
+
+    Joe, Jack, Bert--three old miners and two boys
+
+_Final Scene. Same as first scene_
+
+    Cho-Cho, Everychild, Mother, Father. Old group of children and new
+    group with Everychild
+
+
+
+
+PROLOGUE
+
+BY CHO-CHO
+
+
+    Good people!
+  This is the Play of Everychild
+  With Cho-Cho
+  As Author and Manager.
+  The play has defects--
+  It has good points--
+  And bad points--
+  Like the world itself--
+  Like life!
+  Perhaps the author of the world
+  Is something like me,
+  A little grotesque,
+  A little whimsical,
+  Serious often,
+  Sometimes all the more serious
+  Seen through a Fool's words
+  With cap and jingle of bells.
+  In this droll world
+  There are lots of children
+  Who are the children of fools--
+  Like me.
+  Good people!
+  I bespeak your patience
+  With Everychild
+  Daughter of a Clown.
+
+
+    SCENE I: _Stage dark as curtain rises. Moderate starlight and quiet
+    music of cradle-song type. Little fairies come out dancing in the
+    darkness with firefly lamps and sing the following cradle song:_
+
+
+  Some one is sleeping
+    Out in the dark
+  Where fireflies glimmer
+    Spark upon spark.
+
+  Some little stranger
+    Come from afar
+  Under the glory
+    Of moon and of star.
+
+  Deep in the blossoms
+    That drift as they fall
+  Some one is sleeping
+    And stirs not at all.
+
+  Sleep, little stranger!
+    The night is near gone;
+  Sleep, little stranger,
+    But dream of the dawn!
+
+
+    _The dim light reveals a dark figure lying on the mosses at the foot
+    of an old tree. As the light grows gradually stronger the dark object
+    begins to move, to slowly take off one after another of black
+    coverings, revealing a little girl of nine or ten years, dressed in
+    white. She rubs her eyes, looks about wonderingly, and slowly rises
+    to a standing position. Meanwhile the earth grows more luminous and
+    roseate. The birds have begun to twitter now and then before the dawn,
+    and their notes increase in number and variety with the approach of
+    morning. The growing light reveals an orchard of old apple-trees near
+    at hand in full bloom, with petals falling, and hills and mountains
+    lifting and towering upward higher and higher into the blue distance.
+    A path leads from the orchard up the near hills and toward the
+    heights. The music has grown louder, and is sweet and tender,
+    interspersed with bird notes. A number of children, girls and boys,
+    come out and sing and dance under the blossoms of the apple-trees.
+    They sing the children's song:_
+
+
+  We are of the sunrise
+    Flower-breath and dew,
+  Travelling wider circles
+    Of blue beyond the blue,
+
+  Seeking strength of spirit,
+    Happiness and joy--
+  Heritage decreed for
+    Every girl and boy.
+
+  Music of the moonbeams
+    And the orchard rain,
+  Music of the meadows
+    Waving with the grain,
+
+  Mountains in the sunlight,
+    Colors of the flowers,
+  Trailing cloud and shadow--
+    All of these are ours.
+
+  We are of the sunrise
+    Flower-breath and dew,
+  Travelling wider circles
+    Of blue beyond the blue.
+
+
+
+    _The little girl in the foreground looks with wonder and delight
+    at the entrancing spectacle. She has her side to the audience.
+    She raises her arms, listens, rubs her eyes, smiles with joy. She
+    touches the grass, the flowers, the trees, picks up and smells the
+    falling apple-blossoms. She begins to dance like the other children.
+    One of them sees her and runs toward her with arms outstretched.
+    The newcomer touches her hair and her hands. They smile at each
+    other. The little girl leads the stranger toward the others and has
+    her join in the dance. The dancing is in the Greek manner. They play
+    with a light, large, bubble-like balloon._
+
+
+_Little Girl_
+
+What is your name?
+
+_Stranger_
+
+I do not understand.
+
+_Little Girl_
+
+Oh, of course, I forgot. I will lead you to some one who will give you a
+name.
+
+    (_A man and woman have come slowly through the orchard and seated
+    themselves on a bench under an apple-tree. Two or three of the
+    children lead the stranger up to them._)
+
+_Stranger_ (_feeling of the hair and gown of the woman_)
+
+Who are you?
+
+_Woman_ (_smiling_)
+
+I am your mother.
+
+_Stranger_ (_feeling of the hair and face and garments of the man_)
+
+Who are you?
+
+_Man_
+
+I am your father.
+
+_Stranger_
+
+What place is this? They told me somewhere--but I have forgotten--that I
+should die _there_ which is being born _here_ and come to the earth.
+
+_Mother_
+
+Yes, this is our world, and I shall give you a name. I shall name you
+Everychild.
+
+_Everychild_
+
+Is it always and everywhere so beautiful?
+
+_Mother_
+
+No, but it should be so, and some day it will be so.
+
+_Father_
+
+It is a dream we have.
+
+_Mother_
+
+It will be even more beautiful than this, for we shall go higher, and
+climb those Morning Mountains. The flowers of the Spirit grow there.
+
+_Everychild_
+
+And we shall gather them?
+
+_Father_
+
+Yes, Everychild. Come now, and bring all the others with you. We will
+take that path yonder to the hills.
+
+_Mother_
+
+No, wait! They are not all here. There are some missing. They must all
+come.
+
+_Father_
+
+It will be so long to wait. Let us go with these.
+
+_Mother_ (_laying her hand on_ EVERYCHILD'S _head_)
+
+Have we not named her Everychild?
+
+_Father_
+
+Yes. She must go down and find all who have lost their way. Perhaps some
+have awakened in the wrong place and are wandering about in the dark
+jungle of the world. We will wait here till they come.
+
+_Mother_
+
+Go, Everychild. Find them and bring them all back with you. Take this
+lamp. (_Hands her a rose-colored lamp, etc._)
+
+_Father_
+
+Our lamp?
+
+_Mother_
+
+Our love!
+
+_Father_
+
+Take it, Everychild. With this lamp you can find the lost children and
+bring them all back with you.
+
+_Mother_
+
+We will wait for them no matter how long.
+
+    (EVERYCHILD _starts down along a path leading off the stage to
+    the right--the music and singing continue through the whole scene._
+    CHO-CHO _appears, right, for a moment and points her path to her
+    saying: "This way, Everychild."_)
+
+(CURTAIN FALLS)
+
+CURTAIN _rises revealing_
+
+
+    SCENE II: _A squalid room in a city tenement, a miserable stove,
+    a bedraggled bed. Right, a table at which a poorly dressed man and
+    woman are working fast and feverishly. Three children of about four,
+    eight, and ten years sit on a bench, left, sewing as fast as they
+    can, looking tired, depressed, weary. It is evening, the room poorly
+    lit. Noises from the street, street calls, rumbling of vehicles, honk
+    of autos, etc., etc._
+
+
+_The Younger Child_
+
+Ma, can I go to bed? I am so tired and hungry.
+
+_Mother_
+
+It ain't ten yet. It will be only a few minutes more. The boss is coming
+early in the morning and we must have the work ready. Now you be still
+and keep working. You don't know what a good home you got. Ain't she got
+a good home, John?
+
+_Father_
+
+You bet she got a good home, and if you all work now we get the good
+coffee and bread in the morning and perhaps in a couple a weeks we all
+go to the movies.
+
+_Oldest Child_
+
+Gee, I like to see that fairy play what we see once.
+
+    (_Bell strikes ten._)
+
+_Mother_
+
+Now, go right to bed, children. It is ten o'clock.
+
+    (_Takes light and goes with husband into room right. Children undress
+    and scramble into one bed._)
+
+    (_Street noises all discontinue, back of room opens out on to the
+    orchard and the music of first scene is heard with dancing children._
+    EVERYCHILD _comes into the room with her rosy lamp. The three children
+    sit up in bed and rub their eyes._ EVERYCHILD _glides all about the
+    room and looks at the squalid place in dismay, then goes up and smiles
+    at the children._)
+
+_Everychild_
+
+You are some of the lost children. How did you get in here? Come with
+me. I will give you some better clothes and you can dance and sing with
+all of them.
+
+    (_They get out of bed and she leads them in wonder and joy out into
+    the orchard._)
+
+(CURTAIN FALLS)
+
+
+    SCENE III: _Plain interior of a farmer's kitchen with farmer's
+    wife busy over stove, and kitchen table set for lunch for two. Adjacent
+    room, left, small bedroom in which lies a pallid thin child in bed with
+    dishes and bottles on little bedside table. Very little light. Curtains
+    to a single window down. Farmer in overalls comes in, looking hot and
+    tired. He throws hat on chair, says "Hullo, Mary, dinner ready?" and
+    proceeds to wash hands and face in a basin on a stool. Then sits down
+    at the table._
+
+
+_Mary_ (_bringing food from stove and sitting down opposite_)
+
+Here we are, Jim. Guess you're ready for something. It takes a man to
+sprout a patch o' locusts, and you had breakfast by lamplight.
+
+_Jim_
+
+Some o' them roots seemed as long as from here to the barn.
+
+_Mary_
+
+But you'll have the best pasture in the county next year.
+
+_Jim_
+
+What's the good? We rationed our beef steers the way that government
+chap taught us, and our pigs, and our sheep, and who got the profit?
+
+_Mary_
+
+A lot more documents came from the government to-day--all about _pigs_.
+And we haven't got a decent house to live in! If we could only build on
+that pretty bit of high ground I've had picked out for three years,
+Rosie would quit havin' these sick spells.
+
+_Jim_
+
+How is she, mother?
+
+_Mary_
+
+I b'lieve she's a little better. Jim, have you got any money left from
+sellin' the car?
+
+_Jim_
+
+You know we had to pay the interest at the bank first of all, and the
+rest went for fertilizer.
+
+_Mary_
+
+I miss the car more on Rosie's account than mine. She's been cryin'
+for a ride this morning. I didn't know what to say. And I had to promise
+her she could go to the picnic if she got well. That'll mean a pretty
+dress, and hat and shoes.
+
+_Jim_
+
+I don't know where you'll get 'em then.
+
+_Mary_
+
+Looks like we ought to be able to give our children a little pleasure.
+There's poor Billie and Tom don't more'n get home from school an' lay
+their books down till they have to go to hoein' and pullin' weeds. I
+don't blame Billie a bit for runnin' away and goin' fishin' last
+Saturday.
+
+_Jim_
+
+I don't either, though I had to whip him for it. I can't do without his
+work and get through.
+
+_Mary_
+
+Get through? When did we ever get through anyhow? Look at this, Jim.
+(_Picks up paper and points to paragraph._) Beef steers sold to-day in
+Chicago at nine cents a pound. It cost us fourteen cents to raise ours,
+and we're countin' on makin' things easier by raisin' more next year.
+And see here, it says _beef_ went _up_ in the Eastern market four cents.
+
+_Jim_
+
+Steers down, beef up! Robbin' both ways.
+
+    (_Enter_ BILLIE _and_ TOM _with schoolbooks, which they throw down,
+    shouting: "We got a half-holiday!"_)
+
+_Billie_
+
+The big boys are goin' to play ball. Dad, can't we go watch 'em?
+(MARY _and_ JIM _look at each other._)
+
+We ain't seen a ball game this year, and we want to learn to play.
+They're makin' a little boys' team at school.
+
+_Mary_
+
+Daddy's workin' awfully hard to-day. He needs you bad to pile brush for
+him.
+
+_Jim_
+
+You can't go to-day, boys. Next time----
+
+_Billie_ (_hopeless_)
+
+Oh, next time! It's always next time.
+
+_Mary_
+
+Wash up now, and you can have a hot dinner.
+
+    (_They wash listlessly._)
+
+_Jim_
+
+Mary, I think you'd better telephone for the doctor to come and have a
+look at Rosie.
+
+_Mary_ (_hesitating_)
+
+I did--this morning. He said he didn't have time to come out to-day.
+
+_Jim_
+
+Dr. Lowden?
+
+_Mary_
+
+Guess he's tired o' comin' for nothing. You can't blame him.
+
+    (JIM _hangs his head. A knock at the door._ JIM _rises and opens it._
+    CHO-CHO _enters giggling and grimacing while the farmer and his wife
+    are speechless with amazement._)
+
+_Cho-Cho_
+
+You sent for a doctor?
+
+_Jim_
+
+Yes--but--you--ain't--no doctor.
+
+_Cho-Cho_
+
+No, I--ain't--no--doctor (_mimicking_), but my daughter is a doctor and
+here she is now.
+
+    (_Enter_ EVERYCHILD _disguised as a doctor, with a long black cape
+    hiding her white dress, a pair of goggles over her eyes, a long white
+    beard, a white wig, a man's hat on, a little black bag in her hands._)
+
+_Jim_ (_tearing his hair distractedly_)
+
+You say that little old man is your daughter and a doctor?
+
+_Cho-Cho_
+
+That's right--but a new kind of doctor. This is a Health doctor, not a
+Disease doctor. Present treatment for Health--absent treatment for
+absence of Health. (_Ha--ha--hee--hee!_) I'll leave the doctor here.
+(_Goes out._)
+
+_Everychild_
+
+Well, well, where is the patient? (_Putting hat on chair._)
+
+_Jim_
+
+I must be crazy, but I never seen a doctor like you. You ain't no
+doctor.
+
+_Everychild_
+
+Oh, yes I am. I'm a children's specialist. Is she in that room? (_Goes
+to door and opens it_--_draws back a little._) Whew! No air. Lift up
+that curtain and open the window! (JIM _does it, rather aghast._) You
+must show me where you keep your pigs. Don't they get light and air on a
+day like this? (_Goes toward bed as_ ROSIE _rises up in bed and stares
+with a smile at the little doctor_.) So this is the little patient.
+Well! Well! (_Lifts up and looks at the bottles._) Take these and throw
+them out. (_Hands them to_ MARY, _who takes them out and returns._) My!
+My! Pork and potatoes and candy! Of all things! I'll have to make out a
+diet list later. (_Feels pulse--listens to her chest._) I think the
+trouble with you is bad food, bad air, and no light. The trouble is not
+enough agricultural pamphlets on human live stock, not enough government
+millions spent on the real thing. Now get up, Rose! Let me see you
+stand. There, that's good. Now a comb and brush--we'll help this hair
+a little.
+
+_Mary_ (_handing_ EVERYCHILD _a comb and brush_)
+
+My hands are so full of work----
+
+_Everychild_ (_arranging_ ROSIE'S _hair_)
+
+Yes, that's better. Now, father, a glass of milk! (JIM _goes
+into kitchen._) And mother, open that bag, please.
+
+    (_While_ MARY _opens bag._ JIM _returns with glass of milk, which_
+    ROSIE _drinks._)
+
+_Mary_
+
+Oh, my!
+
+    (_Takes out pretty dress, stockings and slippers, which she lifts up,
+    looks at delightedly, and carries to the doctor._)
+
+_Rosie_
+
+Oh, mother! You did get them!
+
+    (EVERYCHILD _works fast, slips the gown on the patient with the
+    stockings and slippers, while_ ROSIE _smiles happily, though
+    dazed by the splendor of it._)
+
+_Rosie_
+
+Are you going to take me to the picnic?
+
+_Everychild_
+
+Indeed I am! A picnic that will never be over!
+
+_Rosie_
+
+Are we going to ride? Have we got our car back?
+
+_Everychild_
+
+Better than that.
+
+_Rosie_
+
+What is it?
+
+_Everychild_
+
+You'll see. Maybe you'll dance out of the window.
+
+_Mary_
+
+Are you going to take her away?
+
+_Everychild_
+
+Yes, I shall keep her with me until she is well. Then she will return to
+you.
+
+    (_Takes out of the bag the rosy lamp and waves it. Throws aside her
+    cap and pulls off goggles, wig, and beard. The back wall moves away,
+    revealing the first scene with the same strains of music and the
+    dancing children in the orchard._ EVERYCHILD _leads_ ROSIE _out to
+    join them._ BILLIE _and_ TOM _move after them calling: "Let us go
+    with you! Take us with you!"_)
+
+_Rosie_
+
+Oh, please take Billie and Tom!
+
+_Everychild_
+
+Yes, I want them, too. Come along, boys!
+
+    (_They shout and run after_ ROSIE _and_ EVERYCHILD.)
+
+_Mary_
+
+Oh, Jim, is this a dream? Or am I awake at last?
+
+_Jim_ (_putting his hand to his head, dazedly_)
+
+Perhaps this is what it ought to be for all the children of the world.
+
+(CURTAIN FALLS)
+
+
+    SCENE IV: _Interior of a coal-mine, lit only by lamps on the
+    heads of three men and two boys, about twelve and fourteen years, the
+    men busy at work getting the coal down with picks, the boys shovelling
+    coal into a car. They work a few minutes. Distant muffled sound of a
+    steam-whistle. They immediately drop tools and go to corner and pick
+    up each a can, paper bag, or small basket, and sit down to eat._
+
+
+_One Man_
+
+Lunch-time. It feels good to rest half an hour in this bloomin' hole.
+(_Takes a drink from a bottle he brings from his pocket and hands to
+another._) Have a swig, Jack?
+
+_Jack_
+
+Don't care if I do. (_Takes a swallow._) I'll bring some next time, Joe.
+
+_Joe_ (_passing bottle to the other_)
+
+Here, Bert, it helps. Take some and give a swallow to the boys.
+
+_Bert_
+
+I'll take some and thank you, but I guess the boys are better off
+without it.
+
+_Jack_
+
+How long you worked here, Bert?
+
+_Bert_
+
+Nigh on fifteen years, and a devil's job it is. I wanted to be a sailor,
+but I got into this, and it paid pretty good, and then I got tangled up
+with a family and just stayed on the job. But it's no place to spend a
+life. (_Coughs._)
+
+_Joe_
+
+I been here 'bout as long as you, Bert. I ran away from the big woods
+where my father was a lumberman. Thought I'd see the world, and just got
+stuck here and never could make up my mind to get away. See the world,
+eh! All I ever seed was de inside of it. If I had my way to do over
+again, I think I'd take to the tall timber up dere on top.
+
+    (_Meantime the two boys, while eating with one hand out of their cans,
+    have been whispering and playing knuckle-bones with pieces of coal,
+    a little way from and behind the men. Suddenly they stop, look around
+    at each other and listen, for they hear the fairy dance music of
+    the first scene, which is not heard by these older men, who go on
+    talking._)
+
+_First Boy_
+
+Dey's havin' parade up dere.
+
+_Second Boy_
+
+Dat ain't band music, you mutt.
+
+    (FIRST BOY _begins to sway as if in time with the music._)
+
+_Second Boy_
+
+Wot's the matter?
+
+_First Boy_ (_sheepish_)
+
+Nuthin'. (_Tries to keep still. They both listen._) Did yer ever dance,
+Buck?
+
+_Second Boy_
+
+Naw. (_Listens._) But I bet I could!
+
+_First Boy_
+
+I had a dream onct. I dremp I's in an orchard, an' they's blooms
+floatin' round. I could smell 'em!
+
+_Second Boy_
+
+You's nutty. You can't smell in a dream.
+
+    (_They listen, and finally yield to the music, swaying their bodies,
+    moving their arms, and beginning to dance as the music goes on._)
+
+_Jack_
+
+I've been here fourteen years, since I was a boy. It ain't a place for
+a man. It's too black. You get black outside and inside. Why, they say
+your lungs get black from breathing this dust. And your soul gets black.
+The place for an honest man to work is out in the white light, on your
+ocean or in your woods, or on the roads and railways, and in the big
+buildings. This kind of work is work with punishment added to it. A
+little of it would be all right for men who go wrong, or for some as
+needs discipline. Then some day they'll get machines to do the rest.
+Ah--there's the whistle. Come on, boys, to work again!
+
+    (_A whistle sounds and all start to work as before._)
+
+(CURTAIN FALLS)
+
+
+    FINAL SCENE: _Curtain rises on final scene. Same as first, with
+    music as before, and with the mother and father and children among
+    the apple-trees._ CHO-CHO _appears, right, and says: "Here they
+    come!"_ EVERYCHILD _enters, right, bringing with her a number
+    of children, who follow her and then scatter under the trees._
+
+_Everychild_
+
+Oh, mother, I went everywhere, and we've brought all who could come!
+But there were some in holes in the ground that I couldn't reach, though
+we danced and danced, and called and called. They were too far down.
+And there were some ill and crippled, in hospitals, that couldn't walk,
+and some hidden away in great buildings called factories--and some in
+tenements, where there was no sun, and no green grass to walk on.
+Mother, what shall we do? It was so hard to leave them. Won't you go
+back with me, and help me?
+
+_Mother_
+
+Yes, Everychild. We must all go. Not one must be left down there.
+
+_Father_
+
+Yes, we cannot go on up the Morning Mountains until they come.
+
+_Mother_
+
+We will start at once, all of us, down through the highways and valleys
+and cities of the world, and bring them here. Come, children, let us go.
+
+    (_They gather about her and start down, right, singing as they
+    go._ CHO-CHO _lingers behind for a few moments and pronounces an
+    epilogue._)
+
+
+
+
+EPILOGUE
+
+
+  Not all here yet--
+  But they must come
+  To this sunshine--
+  To these mountains--
+  To these birds and trees--
+  To the music--
+  To the Land of Health,
+  The Land of Happiness--
+  They may be gay _there_--
+      Sometimes--
+      Sometimes--
+  But _that_ is a fool's Paradise--
+  My old Kingdom--
+  And I must lead them up
+  To this new land
+  Of hope and joy.
+
+
+(CURTAIN FALLS)
+
+
+
+
+
+
+TWO DOCTORS AT AKRAGAS
+
+BY
+
+FREDERICK PETERSON
+
+
+
+
+CHARACTERS
+
+
+  AKRON
+  EMPEDOCLES
+  PANTHEIA
+
+
+
+
+TWO DOCTORS AT AKRAGAS
+
+[_Atlantic Monthly_, 1911.]
+
+
+_Akron_
+
+She has been dead these thirty days.
+
+_Empedocles_
+
+How say you, thirty days! and there is no feature of corruption?
+
+_Akron_
+
+None. She has the marble signature of death writ in her whole fair
+frame. She lies upon her ivory bed, robed in the soft stuffs of Tyre, as
+if new-cut from Pentelikon by Phidias, or spread upon the wood by the
+magic brush of Zeuxis, seeming as much alive as this, no more, no less.
+There is no beat of heart nor slightest heave of breast.
+
+_Empedocles_
+
+And have you made the tests of death?
+
+_Akron_
+
+There is no bleeding to the prick, nor film of breath upon the bronze
+mirror. They have had the best of the faculty in Akragas, Gela, and
+Syracuse, all save you; and I am sent by the dazed parents to beseech
+you to leave for a time the affairs of state and the great problems
+of philosophy, to essay your ancient skill in this strange mystery of
+life in death and death in life.
+
+_Empedocles_
+
+I will go with you. Where lies the house?
+
+_Akron_
+
+Down yonder street of statues, past the Agora, and hard by the new
+temple that is building to Olympian Zeus. It is the new house of yellow
+sandstone, three stories in height, with the carved balconies and
+wrought brazen doors. Pantheia is her name. I lead the way.
+
+_Empedocles_
+
+The streets are full to-day and dazzling with color. So many carpets
+hang from the windows, and so many banners are flying! So many
+white-horsed chariots, and such concourses of dark slaves from every
+land in the long African crescent of the midland sea, from the pillars
+of Hercules to ferocious Carthage and beyond to the confines of Egypt
+and Phoenicia! Ah, I remember now! It is a gala day--the expected
+visit of Pindar. I am to dine with him to-morrow at the Trireme. We
+moderns are doing more to celebrate his coming than our fathers did
+for AEschylus when he was here. I was very young then, but I remember
+running with the other boys after him just to touch his soft gown and
+look into his noble face.
+
+_Akron_
+
+I have several rolls of his plays, that I keep with some new papyri of
+Pindar arrived by the last galley from Corinth, in the iron chest inside
+my office door, along with some less worthy bags of gold of Tarshish and
+coinage of Athens, Sybaris, Panormos, and Syracuse. Ah, here is the
+door! It is ajar, and if you will go into the courtyard by the fountain
+and seat yourself under the palm-trees and azaleas on yon bench, by the
+statue of the nymph, I will go up to announce your coming.
+
+_Empedocles_
+
+All is still save for the far, faint step of Akron on the stair, and the
+still fainter murmur from the streets. The very goldfish in the fountain
+do not stir, and the long line of slaves against the marble wall, save
+for their branded foreheads, might be gaunt caryatides hewn in Egyptian
+wood or carved in ebony and amber. That gaudy tropic bird scarce ruffles
+a feather. What is the difference between life and death? A voice, a
+call, some sudden strange or familiar message on old paths, to the
+consciousness that lies under that apparent unconsciousness, will waken
+all these semblances of inanimation into new life of arms and fins and
+wings. Let me try her thus! My grandfather was a pupil of Pythagoras
+who had seen many such death-semblances among the peoples of the white
+sacred mountains of far India. Ha! Akron beckons. I must follow him.
+
+_Akron_
+
+Enter yon doorway where the white figure lies resplendent with jewels
+that gleam in the morning sun.
+
+_Empedocles_
+
+The arm drawn downward by the heavy golden bracelet is cold, yet soft
+and yielding like a sleep. The face has the natural ease of slumber, and
+not the rigid artificiality of death. 'Tis true there is no pulse, no
+beat of heart nor stir of breath, yet neither is there the sombre
+grotesqueness of the last pose. But the difference between life and
+death is here so small that it is incommensurable, the point of the
+mathematicians only. I shall hold this little hand in mine, and, with a
+hand upon her forehead, call her by name; for, you know, Akron, one's
+name has a power beyond every other word to reach the closed ears of the
+imprisoned soul.
+
+Pantheia! Pantheia! Pantheia! It is dawn. Your father calls you. Your
+mother calls you. And I call you and command you. Open your eyes and
+behold the sun!
+
+_Akron_
+
+A miracle, oh, Zeus! The eyelids tremble like flower-petals under the
+wind of heaven. Was that a sigh or the swish of wings? Oh, wonder of
+wonders! she breathes--she whispers!
+
+_Pantheia_
+
+Where am I? Is this death? Some one called my name. That is the pictured
+ceiling of my own room. Surely that is Zaldu, my pet slave, with big
+drops on her black face.... And father, mother, kneeling either side.
+And who are you with rapt face and star-deep eyes, thick hair with
+Delphic wreaths, and in purple gown and golden girdle? Are you a god?
+
+_Empedocles_
+
+Be tranquil, child, I am no god, only a physician come to heal you. You
+have been ill and sleeping a long time.
+
+_Pantheia_
+
+Yes, I feel weakness, hunger, and thirst. I remember now that I was
+well, when suddenly a strange thought came to me on my pillow. I
+thought that I was dead. This took such possession of me that it shut
+out every other thought, and being able to think only that one thought,
+I must have been dead. It seemed but a moment's time when the spell of
+the thought was broken by an alien deep voice from the void of nothing
+about me, calling me by name, calling me to wake and see the day. With
+that came floods of my own old thoughts, like molten streams from AEtna,
+that were rigid as granite before the word was given that loosed them.
+
+_Empedocles_
+
+Did you not see new things or new lands or old dead faces, for you have
+been gone a month? I am curious to know.
+
+_Pantheia_
+
+How passing strange! No, I saw neither darkness nor light. I heard no
+sounds, nor was conscious of any silence. I must have had just the one
+thought that I was dead, but I lost consciousness of that thought. I
+remember saying good night to Zaldu, and I handed her the quaint doll
+from Egypt and bade her care for it. Then the thought seized me, and I
+knew no more. My thoughts which had always run so freely before, like
+a plashing brook, must have suddenly frozen, as the amber-trader from
+the Baltic told me one day the rivers do in his far northern home. Oh,
+sir, are you going so soon?
+
+_Empedocles_
+
+Yes, child. You must take nourishment now, and talk no more. But I am
+coming again to see you, for I have many earnest questions still to put
+regarding this singular adventure.
+
+_Akron_
+
+Let me walk with you. I will close the great door. Already the gay
+streets are silent, and the people crowd this way, whispering awe-struck
+together of the deed of wonder you have done this day. You have called
+back the dead to life, and they make obeisance to you as you pass, as if
+you were in truth a son of the immortals. Your name will go down the
+ages linked with the miracle of Pantheia. You are immortal.
+
+_Empedocles_
+
+Nay, 'tis not so strange as that, and yet 'tis stranger.
+
+_Akron_
+
+I would know your meaning better.
+
+_Empedocles_
+
+The power of a thought, that is the real wonder! We just begin to have
+glimpses of the effects of the mind upon the body. To me, Akron, the
+faculty has set too great store upon herbs and bitter drafts, and
+cutting with the knife. I would fain have the soul acknowledged more,
+our therapy built on the dual mechanism of mind and substance. For if an
+idea can lead to the apparent death of the whole body, so might other
+ideas bring about the apparent death of a part of the body, like, for
+example, a paralysis of the members, or of the senses of sight, feeling,
+hearing; and in truth I have seen such things. Or a thought might give
+rise to a pain, or to a feeling of general illness, or to a feeling of
+local disorder in some internal organ; and I feel sure I have likewise
+met with such instances. And if an idea may produce such ailments, then
+a contrary idea implanted by the physician may heal them. I believe
+this to be the secret of many of the marvels we see at the temples and
+shrines of AEsculapius and of the cures made by the touch of seers and
+kings.
+
+But this teaching goes much deeper and further. If we could in the
+schools implant in our youth ideas which were strong enough, we should
+be able to make of them all, each in proportion to his belief in himself
+and his ambition, great men, great generals, thinkers, poets, a new race
+of heroes in all lines of human endeavor, who should be able by their
+united strength of idea and ideal finally to people the world with gods.
+
+I have among my slaves, who work as vintners and olive-gatherers, a
+physician of Thrace, as also a philosopher of the island of Rhodes, a
+member of the Pythagorean League. These I bought not long ago from the
+Etruscan pirates. Every evening I have them come to me on the roof after
+the evening meal, and there under the quiet of the stars we discuss life
+and death, the soul and immortality, and all the burning problems of
+order, harmony, and number in the universe. What surprises me is that
+this Thracian should be so in advance of the physicians of Hellas,
+for he holds as I do that the mind should be first considered in the
+treatment of most disorders of the body, because of its tremendous
+power to force the healing processes, and because sometimes it
+actually induces disease and death. And we have talked together of the
+incalculable value of faith and enthusiasm so applied in the education
+of the child, this new kind of gardening in the budding soul of mankind,
+and of what new and august races might thereby come to repeople this
+rather unsatisfactory globe.
+
+I am minded to free these slaves, indeed all my slaves, and I have the
+intention of devoting the most of a considerable fortune, both inherited
+and amassed by me, to the spread of these doctrines and to the public
+weal, particularly in the matter of planting in the souls of our youth,
+not the mere ability to read and write Greek and do sums in arithmetic,
+but the seeds of noble ideas that shall make this Trinacria of ours a
+still more wonderful human garden than it has been as a granary for the
+world's practical needs. From this sea-centre we send our freighted
+galleys to Gades in the West, Carthage in the South, Tyre in the East,
+and to the red-bearded foresters of the Far North. I would still send on
+these same routes this food, but also better food than this, stuff that
+should kindle and feed intellectual fires in all the remote places of
+the earth.
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Flutter of the Goldleaf; and Other
+Plays, by Olive Tilford Dargan and Frederick Peterson
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE FLUTTER OF THE GOLDLEAF ***
+
+***** This file should be named 20172.txt or 20172.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/0/1/7/20172/
+
+Produced by David Garcia and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Kentuckiana Digital Library)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/20172.zip b/20172.zip
new file mode 100644
index 0000000..9b9e592
--- /dev/null
+++ b/20172.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..292e709
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #20172 (https://www.gutenberg.org/ebooks/20172)