Three Plays Part 5

THE FATHER (_crying out_). No, in time! in time! Fortunately I recognized her ... in time. And I took them back home with me to my house. You can imagine now her position and mine: she, as you see her; and I who cannot look her in the face.

THE STEP-DAUGHTER. Absurd! How can I possibly be expected--after that--to be a modest young miss, a fit person to go with his confounded aspirations for "a solid moral sanity"?

THE FATHER. For the drama lies all in this--in the conscience that I have, that each one of us has. We believe this conscience to be a single thing, but it is many-sided.

There is one for this person, and another for that. Diverse consciences. So we have this illusion of being one person for all, of having a personality that is unique in all our acts. But it isn't true. We perceive this when, tragically perhaps, in something we do, we are as it were, suspended, caught up in the air on a kind of hook. Then we perceive that all of us was not in that act, and that it would be an atrocious injustice to judge us by that action alone, as if all our existence were summed up in that one deed. Now do you understand the perfidy of this girl? She surprised me in a place, where she ought not to have known me, just as I could not exist for her; and she now seeks to attach to me a reality such as I could never suppose I should have to a.s.sume for her in a shameful and fleeting moment of my life.

I feel this above all else. And the drama, you will see, acquires a tremendous value from this point. Then there is the position of the others ... his.... (_indicating the Son_).

THE SON (_shrugging his shoulders scornfully_). Leave me alone! I don't come into this.

THE FATHER. What? You don't come into this?

THE SON. I've got nothing to do with it, and don't want to have; because you know well enough I wasn't made to be mixed up in all this with the rest of you.

THE STEP-DAUGHTER. We are only vulgar folk! He is the fine gentleman. You may have noticed, Mr. Manager, that I fix him now and again with a look of scorn while he lowers his eyes--for he knows the evil he has done me.

THE SON (_scarcely looking at her_). I?

THE STEP-DAUGHTER. You! you! I owe my life on the streets to you. Did you or did you not deny us, with your behaviour, I won't say the intimacy of home, but even that mere hospitality which makes guests feel at their ease? We were intruders who had come to disturb the kingdom of your legitimacy. I should like to have you witness, Mr. Manager, certain scenes between him and me. He says I have tyrannized over everyone. But it was just his behaviour which made me insist on the reason for which I had come into the house,--this reason he calls "vile"--into his house, with my mother who is his mother too. And I came as mistress of the house.

THE SON. It's easy for them to put me always in the wrong.

But imagine, gentlemen, the position of a son, whose fate it is to see arrive one day at his home a young woman of impudent bearing, a young woman who inquires for his> father, with whom who knows what business she has. This young man has then to witness her return bolder than ever, accompanied by that child there. He is obliged to watch her treat his father in an equivocal and confidential manner.

She asks money of him in a way that lets one suppose he must give it her, _must_, do you understand, because he has every obligation to do so.

THE FATHER. But I have, as a matter of fact, this obligation. I owe it to your mother.

THE SON. How should I know? When had I ever seen or heard of her? One day there arrive with her (_indicating Step-Daughter_) that lad and this baby here. I am told: "This is _your_ mother too, you know." I divine from her manner (_indicating Step-Daughter again_) why it is they have come home. I had rather not say what I feel and think about it. I shouldn't even care to confess to myself. No action can therefore be hoped for from me in this affair.

Believe me, Mr. Manager, I am an "unrealized" character, dramatically speaking; and I find myself not at all at ease in their company. Leave me out of it, I beg you.

THE FATHER. What? It is just because you are so that....

THE SON. How do you know what I am like? When did you ever bother your head about me?

THE FATHER. I admit it. I admit it. But isn't that a situation in itself? This aloofness of yours which is so cruel to me and to your mother, who returns home and sees you almost for the first time grown up, who doesn't recognize you but knows you are her son.... (_pointing out the Mother to the Manager_). See, she's crying!

THE STEP-DAUGHTER (_angrily, stamping her foot_). Like a fool!

THE FATHER (_indicating Step-Daughter_). She can't stand him you know. (_Then referring again to the Son_): He says he doesn't come into the affair, whereas he is really the hinge of the whole action. Look at that lad who is always clinging to his mother, frightened and humiliated. It is on account of this fellow here. Possibly his situation is the most painful of all. He feels himself a stranger more than the others. The poor little chap feels mortified, humiliated at being brought into a home out of charity as it were. (_In confidence_)--: He is the image of his father. Hardly talks at all. Humble and quiet.

THE MANAGER. Oh, we'll cut him out. You've no notion what a nuisance boys are on the stage....

THE FATHER. He disappears soon, you know. And the baby too.

She is the first to vanish from the scene. The drama consists finally in this: when that mother re-enters my house, her family born outside of it, and shall we say superimposed on the original, ends with the death of the little girl, the tragedy of the boy and the flight of the elder daughter. It cannot go on, because it is foreign to its surroundings. So after much torment, we three remain: I, the mother, that son. Then, owing to the disappearance of that extraneous family, we too find ourselves strange to one another. We find we are living in an atmosphere of mortal desolation which is the revenge, as he (_indicating Son_) scornfully said of the Demon of Experiment, that unfortunately hides in me. Thus, sir, you see when faith is lacking, it becomes impossible to create certain states of happiness, for we lack the necessary humility.

Vaingloriously, we try to subst.i.tute ourselves for this faith, creating thus for the rest of the world a reality which we believe after their fas.h.i.+on, while, actually, it doesn't exist. For each one of us has his own reality to be respected before G.o.d, even when it is harmful to one's very self.

THE MANAGER. There is something in what you say. I a.s.sure you all this interests me very much. I begin to think there's the stuff for a drama in all this, and not a bad drama either.

THE STEP-DAUGHTER (_coming forward_). When you've got a character like me.

THE FATHER (_shutting her up, all excited to learn the decision of the Manager_). You be quiet!

THE MANAGER (_reflecting, heedless of interruption_). It's new ... hem ... yes....

THE FATHER. Absolutely new!

THE MANAGER. You've got a nerve though, I must say, to come here and fling it at me like this....

THE FATHER. You will understand, sir, born as we are for the stage....

THE MANAGER. Are you amateur actors then?

THE FATHER. No. I say born for the stage, because....

THE MANAGER. Oh, nonsense. You're an old hand, you know.

THE FATHER. No sir, no. We act that role for which we have been cast, that role which we are given in life. And in my own case, pa.s.sion itself, as usually happens, becomes a trifle theatrical when it is exalted.

THE MANAGER. Well, well, that will do. But you see, without an author ... I could give you the address of an author if you like....

THE FATHER. No, no. Look here! You must be the author.

THE MANAGER. I? What are you talking about?

THE FATHER. Yes, you, you! Why not?

THE MANAGER. Because I have never been an author: that's why.

THE FATHER. Then why not turn author now? Everybody does it.

You don't want any special qualities. Your task is made much easier by the fact that we are all here alive before you....

THE MANAGER. It won't do.

THE FATHER. What? When you see us live our drama....

THE MANAGER. Yes, that's all right. But you want someone to write it.

THE FATHER. No, no. Someone to take it down, possibly, while we play it, scene by scene! It will be enough to sketch it out at first, and then try it over.

THE MANAGER. Well ... I am almost tempted. It's a bit of an idea. One might have a shot at it.

THE FATHER. Of course. You'll see what scenes will come out of it. I can give you one, at once....

THE MANAGER. By Jove, it tempts me. I'd like to have a go at it. Let's try it out. Come with me to my office (_turning to the Actors_). You are at liberty for a bit, but don't stop out of the theatre for long. In a quarter of an hour, twenty minutes, all back here again! (_To the Father_): We'll see what can be done. Who knows if we don't get something really extraordinary out of it?

THE FATHER. There's no doubt about it. They (_indicating the Characters_) had better come with us too, hadn't they?

THE MANAGER. Yes, yes. Come on! come on! (_Moves away and then turning to the actors_): Be punctual, please! (_Manager and the Six Characters cross the stage and go off. The other actors remain, looking at one another in astonishment_).

LEADING MAN. Is he serious? What the devil does he want to do?