O M w M O 4^ . t a ' ^O ^ . 'JHM^.* ^^ ^^^ .;^^. ^ <>. *'T: H^^ To ALFRED KREYMBORG for much encouragement Copyright 1921, by Frayne Williams Dramatic and publication rights reserved by author. Application for permission to produce these plays must be made to author, care of the publisher, 438 Wall Street, Los Angeles. M 5^") vi '-< UEC 23 1921 ©C/.D 59876 Three Oriental Plays By Frayne Williams w PUBLISHED BY J. A. ALLES CO., LOS ANGELES 1921 ^^35-4? By FRAYNE WILLIAMS Two Plays for Pierrettes Plays for Iconoclasts Cabaret Nights and other Poems S-^^ 6l The Rose Garden A Play of Oriehtal Philosophy and Phantasy The acting throughout this play is highly- conventionalized. Every action being a posture and a design, at times accompanied by a quaint chord or combination of chords from the orchestra. The Rose Garden was originally pro- duced by The Arts Club of Chicago, Febru- ary 17, 1921. ORIGINAL CAST WISEMAN George Francis Wolff STRANGER Robert Lee Eskridge SERVING MAID Rosiland Warwick KING Gerald A. Frank MINISTER F. Barry Byrne PHYSICIAN James Herbert Mitchell CAPTAIN McClelland Barclay PLAYER Owen Jones HANDMAIDEN Nan Barclay SINGER RosiLAN Warwick STRANGLER Spencer K. Heafield ATTENDANT Preston Vance DANCER Arthur Corey Stage Picture — Marie E. Blake and Gerald A. Frank James Church, Director of Acting Costumes designed and executed by Spencer K. Heafield Producer, Mrs. Russell J. Mathias Assisted by Mrs. Albert Kales Scene is laid in ancient city of Sochi-Fu, in Chinese Turkistan; now called Yarkand — but still shows traces of Chinese occupa- tion. It was visited by Marco Polo between the years 1271-1275. The Prologue THE curtain rises revealing inner curtain of dull blue. Enter a Wiseman very richly dressed in silk robes of many shades of blue, embroid- ered with dull gold. He carries a rich copper lantern which is lighted, and an ebony staff. The stage is almost in gloom, but from the left side is a narrow band of orange light just level with the Wiseman's head when he is in a standing position. He seats himself slightly to the left of the stage cross legged, facing the audience, placing his lantern on his immediate left. When he is seated he claps his hands thrice and a servitor enters with a steaming bowl of rice in a blue bowl and a smaller bow) of tea. After he leaves, a second man enters whom we will call the Stranger. He is poorly dressed — bare legs and sandals, and just a blouse of a drab cinnamon color. He seats himself slightly to the right and equal distance from the Wiseman, and he claps his hands thrice but less imperitive in man- ner than the former. The servitor enters with a bowl of rice and a bowl of tea. Both the bowls are smaller than those of the Wiseman. 13 THREE ORIENTAL PLAYS The Stranger carries no staff with him, but has a small cage containing a canary. He also carries a rusty iron lantern which he places to his immediate right. The cage he places on his left. Directly he gets his food he starts to consume it with gusto, first feeding the bird with a speck or two of rice. The Wiseman is now partaking of his in a slow dignified manner. He takes a book from his girdle and reads by the light of his lantern. The stranger observes all this closely, stopping to eat the while. Finally the Stranger is bold enough to ask a question. Stranger Wiseman Stranger Wiseman Stranger Wiseman Are not the stars suspended on silken threads? No. They are suspended upon less. If they were suspended on silken threads, the threads would break and send us all crashing to eternity. What is eternity? That place to which we never go. It is a place where there is neither darkness or light. Why? Because if there were darkness 14 THE PROLOGUE or light, we should be there, not here. Then eternity would be here, because here would be the place where we are not, and eternity must ever be the place where we are not. Stranger Is this then the Truth? Wiseman Do you find the Truth hard to seek? Stranger I do. Wiseman Truth is only separated from us by a rice paper screen and some- times the paper gets torn. Stranger And then? Wiseman Men go mad. Stranger Do only madmen know the truth then? Wiseman They only know that the others do not know. Stranger (Perplexed), Know what? Wiseman There comes in the point de- sired. Know that bitter is not sweet — ^that suffering is not joy — nor joy pain. Sorrow not good, nor good evil — but that 15 THREE ORIENTAL PLAYS they are all the same thing — all the one thing — but all different to different people. Are you married ? Stranger No, but I have a sweetheart. Wiseman Thus, then, it were perhaps wiser and the essence of good- ness were I to kill you where you sit before you perpetuate more fools of your kind. Your sweetheart would think it an evil deed, but if I delayed my action until you had been mar- ried a few years, your wife might count it a blessing. Yet my action would be the same. (During this speech he draws a dagger from his girdle. Stranger flinches and is relieved to see him put it back). What do you think of the rice? Stranger Fine. Wiseman You see I have scarcely touched mine. / think it poisonous. Fine to you but poisonous to me. Yet the rice is the same. Apply 16 THE PROLOGUE this to Beauty, and you get the same result. Beauty is only what it awakens in us. Stranger (Further perplexed). Is noth- ing one thing? Wiseman Yes, — although Vm not sure. I find Love is never Hate. It some- times tries to be but never is. Hate is never Love. Neither will surrender, for so true are they to themselves and others that one would kill the other first. Thus Love kills Hate, and Hate kills Love. (The Wiseraan indicates that he wishes the rice howls removed. Attendant does so. Wiseman picks up his lantern and starts to go), stranger (Doing likewise and overtaking him on right of stage).. Alas. What then is life? Wiseman (Pausing). Life. Life is less than nothing. Life is Death. Death is Life. Death is some- times welcome. Life never is. All the lives in the world and 17 THREE ORIENT AL PLAYS since the world began amount to not more than a grain of sand. The great are little. The little are great. But move aside for they are going to have a play here and soon. Stranger I will, but what is a play? Wiseman A play is that which is or that which is not, shown to those who live what is, to make them think that which is not. Come let us hurry! (Leads him out). 18 The Play The curtain rises to a shrill blast of trumpets at a distance. There is revealed two dull gold walls — right and left — set back about four feet from the curtain. Each takes about a third of the width of stage. The open space or middle third turns inward at right angles, making a long cor- ridor-like room stretching away to back of stage. At the end of this room, there are three steps leading to an elevated platform. A stretch of blue sea is seen through the open doors. The walls of this corridor room are painted a deep rich purple. The steps to the elevated platform at back are a deep lacquer red. The elevated platform itself is black, and the floor space is entirely covered with black felt. The right hand gold wall is bare except that a small black ebony sofa stands against it. Against the left hand golden wall is a throne of black ebony with three steps run- ning round the visible sides of it. The chair on the throne has lilac cushions. These two walls are high and disappear above the stage curtains. The corridor room, 19 THREE ORIENTAL PLAYS however, shows rafters of dull red, and from these rafters hang banners and standards of many colors. Some are in shreds and ribbons, being hard won battle relics. Perched on the cushions of the throne is an old decrepit Chinese King, almost in his last death throes. He is not visible to the people in the corridor room. Behind his throne stands his physician who hands him some medicine in a silver cup. He takes it with trembling hands, and drinks it with a gasp. The cup tinkles on the floor. Out in the corridor his ministers are kneeling with heads bowed to the floor, perfectly still. The only one that is standing is the Chief Minister of the Court. His position is far enough down stage to command a view of both the chamber and the dying King. The Chief Minister approaches the King obsequiously. Minister Again thy pleasure O King! King I die! Minister It may be decreed. King It is decreed. (He gathers him self up to say this with hollow strength and then falls back. The Physician makes a slight start 20 THE ROSE GARDEN of alarm). I must die happy! Minister May you live to see the new throne room built — the throne room that is to surpass all others. Then your great soul may pass away in pleasure. King I shall not live. Know ye that death seizes not me. I am am- bracing it Imperially! Minister I have anticipated the pleasure of your Greatness. (Makes a half step forward). Your Might- iness, I have got the builders to make an exact model of the throne room — showing it even as it will look when completed — inset with many gems and colored to the resemblance. May they bring it? King (After looking almost vacantly for a few minutes, nods his head) . Minister (Makes a slight sign, and one of the kneeling figures rises and tears out madly but silently. He reappears with two men carry- 21 THREE ORIENTAL PLAYS rying a model of Oriental archi- tecture. It is a very beautiful piece of work). King (Raises himself wearily to look, assisted by his physician. He fixes the model with a piercing glance and says with infinite scorn:) Is that all it will be! It is well I die before you build such! (The Minister quickly ushers them away with the model and they scramble out quietly but hurriedly amongst the kneeling figures). King (To Ministers) Is that how you embitter my last hours? Minister We have flowers of all kinds. Shall we bring them? King Bring me only roses — roses. (Minister makes a sign and handmaidens bring in a pale green sheet of silk full of roses). King (Makes a sign). Scatter them! (Handmaidens drop the roses all about he throne). Minister Shall these maids dance? They are the prettiest girls in your 22 THE ROSE GARDEN kingdom. (The King gives no sign, but the Minister signifies that they should dance), (Some musicians have crept in behind the flower girls and they now sit at the right wall and play as the girls dance. After a few movements, the King with feeble rage:) King Stop ! Is this how you mock my Imperial end? (The dancers fall upon their faces on the floor. The musi- cians also. There is silence). Minister (After a pause). Shall one sing? King Sing? Yes, sing, but sing only of roses. (The first dancer rises and a small lute like instrument is handed to her. She sings sit- ting) . Singer Have you seen the roses Kiss each other And twine in amourous affection The white to the red The red to the white? 23 THREE ORIENTAL PLAYS Have you seen the roses Kill each other Stabbing with thorn-like swords As the breeze sweeps them through And their red petals drop like blood? (The King apparently dozes and the dancers and musicians with- draw, singing the refrain softly) . (A trumpet so^mds), (The King awakens). (An officer appears at the head and whispers to the Minister as he has joined him). Minister O, King! The noble Captain of your Host is outside wounded al- most to death. Great trophies he brings. (The King nods. Enter the Cap- tain of the Host, supported by two officers. He is very weak and pale from loss of blood, — almost as incoherent as a drunk- en man. Gripped tightly in each hand, he has the torn ban- ner of opposers. His ar- 24 THE ROSE GARDEN monr and clothing is hacked to shreds) . Captain King! King! (He sobs weakly), they are all slain — the raiders of your fair king- dom, and I die for you. (He birches forward and would fall at the King's throne but for his supporters) . King You foolish man — die for me? I die for myself. Captain My duty — King Your duty is to live, not die. Any fool can die. I have lived and now I will my Imperial end. But I must die happy! Captain King! (He falls, and the ivounds bleed afresh). King See, he bleeds among my roses! (The Captain is now insensible and is borne out A bassoon- like trumpet sounds in the dis- tance) . King Who dares to break the decreed silence of my City? 25 THREE ORIENTAL PLAYS Minister (To watchers on platform:) What is this? Watch A troop of players. Minister Let the soldiers throw them into jail. King Bring me their leader. (The leader of the players is brought in. He falls flat before the King with forehead in the du^t). King Name? Player Too Foo. King You lie. Too Foo is dead. Player He is dead, but he lives in me. King Player King Player I am his son. His son ! Come nearer me. My speech grows weak. (Player draws nearer). Can you speak me of your father's play, — The Rose Garden? Yes, your Imperial Highness. If you please me you shall name your own reward. That shall be as your Greatness wills. 26 THE ROSE GARDEN King (Beckons his Minister and whis- pers to him. He nods. Starts, and looks at player almost with horror, — hut the look subsides. He leaves rapidly, hut returns). King Let us have music. (The Musicians form up the cenr- ter of stage, hut in the corridor room out of sight of the throne). During the mv^ic enter three men dressed in black — all about the same height and thin. They all wear short black cloaks so that their arms are not visible. Their skulls are quite clean shaven. They fall flat before the King's throne. The King beckons the leader of the three and whispers. To do this, the King tremblingly stands supporting himself by shoulder of the sinister attend- ant who makes no sign, though once the whites of his eyes show and he nods almost impercept- ably) . 27 THREE ORIENTAL PLAYS (During this, the Minister takes the Player to right side of stage by wall and says:) Minister You need refreshment, stranger? (Claps his hands). (Two ser- vants enter. One with wine and fruit. Player seats himself on the loiv seat, and eats some fruit and dnnks vnne. Second servitor comes forivard with a gold howl of scented ivater and a lilac silk towel. Player with all dignity uses them. Attendant offers him a pipe with bowl as big as a ivalnut and a stem about three feet long. This ivhile the other scene is being enacted on left of stage). King Now ! Player (Prostrates himself before the King) . (The three sinister black figures cross the stage and stand with arms folded against the gold waU at right). King Come nearer! (Beckons player 28 THE ROSE GARDEN to steps of throne). I wish you to speak from this play be- cause certain memories stir me. (Dreamily). She was seated at the play, and wore a rose in her hair. I had her followed with the request that she should be brought to me. (A silence). Player Great One — She came on the wings of the dove. King (Nods) — and my Imperial father had her executed (sud- denly). Now speak the speech. (Music so^inds through this. The Player is standing very near the throne). Player How oft she looked over the grey wall And saw not your coming, The wall of the Rose Garden. Her little white hands hung do\\Ti Am.ong the red roses Playing idly with their petals And you came not. (Advances nearer the throne). All day the sun kissed her cheeks And you came not. 29 THREE ORIENT AL PLAYS Then when night fell How black the roses looked Until the moon rose and showed Crystals hanging from their petals Crystals that were her tear drops. (Mitsic stops), (Player advances right to the steps of the throne and speaks very quietly). And when the morning came Low hung her head over the wall And her lovely raven tresses Were entangled in the thorns. And they buried her among the roses For you came not. (He bows very low). King (With trembling hands rises). And they buried her among the roses. (Trembling, he stands). Player! Player! Your reward is great! (He makes a sign). (Two attendants unroll a sheet of pale yellow silk about six feet wide which effec- tually closes up the entrance to the corridor room. The three black figures advance. Two seize the player's arms from behind. The 30 THE ROSE GARDEN arms which emerge from their cloaks are hare. They draw him hack from the throne, in such a position that his head is throivn hack and his neck hared. The third hlack figure throws off his cloak, and is revealed hare to the waist. The music plays wildly hehind the silk screen, and the hidden attendants sing a sohhing rise and fidl accompaniment, as the third hlack figure slowly strangles the Player to death. The King totteringly walks down the steps with ecstacy written on his face, his whole hody shaking with exultation and quivering arms outstretched). King Your reward — Your reward! (The strangler releases his grip and the limp hody drops into the arms of the King), Your reward — ^to die with a King. (Their hodies fall en- twined amongst the roses). Minister ) ) The King is dead! Physician ) (The music stops, the yellow silk veil is dropped, and with a great wailing, all rush from the 31 THREE ORIENTAL PLAYS Palace. The tivo bodies lie amongst the roses in the foreground). The King in his death throes clutches to his breast a large red rose). CURTAIN 32 TKe Blue Vase A Chi PI inese ay In Free Verse CHARACTERS: A KING A HANDMAIDEN A BLUE VASE SCENE IS LAID IN ANCIENT CHINA TKe Blue Vase THE curtain rises revealing a lofty room about the depth of eight feet only — representing more a corridor than a room. Its construction is very solid — being of black ebony. It is lighted by an oblong window in the center wall. There is also a small circular aperture in the ceiling which admits a dif- fused circle of yellow light as it is entirely covered with a lemon colored glass as a pro- tection against the weather. The oblong window center has no glass or bars, but flung back against the walls are two plain ebony doors which when closed would successfully seal this sanctuary — for sanctuary it is. A sanctuary containing a huge Blue Vase which stands exactly in the center of the oblong window and immed- iately under the circle of diffused yellow light. The Vase is of handsome proportions — standing about five feet high, further emi- nence being given it by elevation on a small platform or rostrum which has the dignity of a throne. The platform is constructed of black 35 THREE ORIENTAL PLAYS ebony and has two steps leading to it. The steps are very solid and broad but only about fifteen inches high. The Blue Vase is absolutely plain — hav- ing no ornamentation whatever — no arms, pattern or design. It owes its absolute love- liness to symetrical proportion, and to its beautiful blue color — full toned and rich. It is evident that this sanctuary is con- structed on the edge of a mountainous precipice. The oblong window without doubt looks out upon a sheer drop of some thousands of feet. The next mountain is seen almost like a perfect miniature paint- ing enclosed by the window framing, bi- sected of course by the Blue Vase in the foreground. The floor of this room is black — carpeted by a kind of black felt so that no falling footstep can be heard. On the right hand side of the Blue Vase is a tiny frail couch, lacquered a pale yellow, fitted with a little silk mattress and roll pillow of mole colored silk — whilst on the left is a twisted stand of most irregular shape, which holds suspended at its pinnacle, a tiny glow lamp, boat shape. The stand is four feet high and has a solid metal foot. It is the color of red bamboo. The two doors leading to the room are right and left. They are very narrow, being scarcely two feet wide 36 THE BLUE VASE and nearly as high as the walls of the room itself. The solid doors hinge from the cor- ridors outside. The thickness of the walls can thus be seen. On the room side a long silk flame — orange colored curtain hangs on the left side of each doorway — ^the folds draping to the floor. Just above the couch hangs a huge bronze gong about three feet in dia- meter, and underneath is suspended a huge ebony hammer. Fully half a minute before the curtain three strokes sound on the gong — ^then the curtain rises very rapidly. The couch is occupied by a diminutive Chinese girl. She is intensely pale and sits immovable with legs crossed, facing front. She is dressed in pale yellow watered silk. Her hair is plainly dressed after the Chinese fashion. After the curtain is up there is a dead silence for fully a minute. Then with- out moving she speaks — at first a little hal1> ingly : SHE How do I love him? I cannot tell. When I was a child I marvelled at the mountains And stood in fear of their greatness. I saw the sea one day, 37 THREE ORIENTAL PLAYS And could not sleep For nights, Because of its immensity! But when I look at this love of mine It is so wonderful, And so huge, That a mountain seems like a pebble Thrown idly away by a playing child, And the sea, a tiny dew drop Hanging on a grass blade Or a branch, waiting for a bird To drink it. Beside my love All things that were great before Are now so small I should not miss them Were they away! Except — except two things The sun, and the song of a bird. The sun, because I could fling My naked soul on its hot bosom And burn out my desire. The bird song because it Tells the song of my love. The door at left opens and the King en- ters. He is dressed in a long close fitting 38 THE BLUE VASE gaberdine or tunic. It is of grey green with self color designing. A black silk cap is on his head and his feet are encased in dull silver slippers. He has a girdle with a sword. He is very tall and aged about forty-five years. The buttons on his tunic are alternate silver and turquoise, and on the third finger of his left hand he wears a blue ring. His fingernails are long and gilded. As the door closes behind him, he stands gazing enraptured at the Blue Vase. He sits on the platform or throne and ad- dresses it caressingly: KING Thou hast soothed me Unruffled my cares. A friend or consort Could do no more — Could not do so much! Why do I worship thee? Is it for thy beauty, Color, shape and wondrous curves? And if so, are not these Reasons enough? Thus men love their steeds And love the curving Limbs and bosoms Of their mistresses. 39 THREE ORIENTAL PLAYS Thou art more then all these, For in loving them I might still baser be, But in loving thee The more exalted do I become And less desire have of the w^orld. (He poMses in contemplation a few moments). When first I placed thee in this shrine I was mad with possession But now life holds A calmer joy for me, Here have I installed thee Safely away from vulgar And misunderstanding eyes. Here have I built thee A worthy shrine And here do I in contemplation Find that which the world has lost. (A pause during which he sits with drooped head., then without looking up, he says:) HE Sing to me little one: SHE (Takes a little square lute from he- hind her couch and sings:) 40 THE BLUE VASE When the rough winds Sweep among the willows, As they lean tenderly o'er the stream, Then their strong boughs Clasp the waters with their arms Like a passion swept lover, And their leaves suck up Dewy kisses, like the loved one From the moist mouth of his mistress. HE (Frowns and claps his hands for her to stop, and rises, giving her a long piercing glance. He slowly passes from the room, but turns at the doorway and says:) Do you still love your task, little one? SHE I still love — (She drops her eyes) my task. (He is about to leave once more, but returns to the vase and, mounting the steps of the throne, touches the slender neck of It with his lips. He turns yet again at the doorway, and sternly). HE Sing me no more songs. (Exit), (ImmMiately he has passed from sight, she strikes a discord on her lute and rushes across to the Blue Vase), SHE Thou thing of Hate! 41 THREE ORIENT AL PLAYS Why do'st thou rob me of his love? (Flings herself down sobbing), (After a while, she collects herself and speaks again). Mine is the greater beauty He shall see. (Runs to couch), I'll wear this red rose in my hair, These coral beads around my neck, These ear-rings, and this perfume. (She adjusts them and looks into her mirror, and quickly adds a little color to her cheeks, powder, etc., as the light fades out to note the lapse of time), (When it gets lighter it will be noticed that the sun is on the wane. The light through the windoiv at the back is now a bright orange. She is in her original posi- tio7i on couch). SHE Near sun down And he does not come. If he comes not, then the night Will seem a thousand years. But if I could spend the night In his arms, the time would seem But a candle flicker . (He enters), 42 THE BLUE VASE HE What is this strange unrest? (Sees her). Well do you keep your watch These two years. Now you should be seventeen. Never have you let the lamp go out. Never in the day have you slept. You do your duty well. No one but we two have entered This sanctuary. Should you fail me Death hideously devised Shall be your punishment — This you know, little one, Do you not? SHE (Coming forward). Yes, my Lord. HE What! What! Do you disobey My hest and wish! What means this rose? What means these vulgar orna- ments ? Take them away! (She removes the ornaments in an ah most listless way. Finally she removes the rose, and as she does so, her hair falls about her and the rose drops in petals on the 43 THREE ORIENTAL PLAYS ground. At the same moment, she takes the other half step which brings her absoultely level tvith him eye to eye). SHE I am sorry to offend, my Lord. HE What strange perfume is this? SHE It is the perfume of my hair, Or my skin. (He does not move, and she timidly slides her hands in his). HE I am tired. I am dizzy. What force impels? (She hacks away slowly to couch — ever so slowly, still holding Hs hands, and with her eyes fixed on his. He follows almost in a dream. She seats herself one end, and he slowly seats himself on the other. The light through the window has turned to the rose red of sunset). HE (Repeating). The perfume of your skin! (She bares her chest and throat by un- doing the three top buttons of her tunic, and he passionately kisses her chest and throat. She clutches her arms tightly around his neck and holds him there, whilst she sings again, croningly:) When the rough winds Sweep among the willows, 44 THE BLUE VASE As they lean tenderly o'er the stream, Then their strong boughs Clasp the waters with their arms Like a passion swept lover, And their leaves suck up Dewy kisses, like the loved one (She loosens her arms) From the moist mouth of his mistress. (He kisses her on the lips). SHE Oh, my loved one! (She now sinks in his arms). HE Is this the end of my unquiet? Is this the end of all paths? Is this the path I would not tread Because I feared? And hugged to myself a higher joy? (Pause) . Is there anything greater than this ? SHE (Murmurs), No! No! HE There must be another way. Something greater — nobler — Full of pure joy. SHE Kiss me. HE If this were all. Mankind would have paused here And strayed no further. 45 THREE ORIENTAL PLAYS Do you beautiful women Lead us up, up among the stars, Or do you prevent our attainment? Tell me? You are of this matter And must be one with its secret. SHE I know only that I love, This my couch by night, My throne by day Witnesseth it. By day, my thoughts Play wanton with the sun-beams And find only you. By night my thoughts Wander among the stars And I find but you. I wondered why it was so But now I know. You were mine already. HE The paths I have trod Have brought my spirit rest Calmness to my soul. But with you little one Whither, whither? SHE I will calm your every fear, 46 THE BLUE VASE Bear all your sorrows, Share the every ill That Fate may bring — HE Stop, I have heard that before. (Dreamily) 'Twas at the foot of a purple mountain ' On the strand of a lake. Silver streaks stirred the waters. It was thousands of years ago. But could not believe. And so thus was I born. Born not trusting friends, Born not trusting women. (His hands now play amongst her long raven hair). Why should we try to believe That this is something worth When we know that it is nothing- ness! SHE What matters what it is So that we are together? HE What matters! To find this smiling face a lie. This lovely heart cankered at its core, This honest friend, 47 THREE ORIENTAL PLAYS Not even an honest enemy! (Pauses in meditation). Why should I take up these threads When Contemplation hath given me Such bliss, and exalted me Above these things? SHE Yet you said you suffered unrest? HE But was that unrest from within? My soul has flown to such heights Of Contemplation that I know It came from without. You bring me to another world. SHE Yes, the World of Love. HE Yes, the World of Love I have heard it called Where men haggle For pieces of metal. And sell their souls' security. Where women sell their love Themselves, and their lovers. Where they leave their trusted one And rove more butterfly like Than the butterfly After new fancies. . . . After I have scorned 48 THE BLLE VASE And abjured all this You would bring me back! And yet — and yet — Is love worth its agonies? What is this Faint stirring of music within me? SHE It is the eternal Song of Love. HE Or the sweeping chords of passion. SHE Passion and Love All, all that matters ! There is nothing more — nothing! (During this speech, the oil lamp on stand flickers), HE Nothing. (Slowly kisses her lips two or three times). SHE Nothing. (The lamp goes out), HE (Rising with alarm). The lamp is out! SHE (Trying to drag him down). We can kindle it again. HE No! No! Now I see! I see! We have played the wanton, Never has that flame perished, And while that burnt The flame within me leapt. 49 THREE ORIENTAL PLAYS (He moves from the couch. She clings tightly, and he drags her with him. He unloosens her hands and throws her back- ward on the floor. She cries aloud, and at the same time he speaks:) HE You — You — neglected your task And dragged me from my height. Out, Out, from this ! Never more will I trust you. SHE (Clutches his feet bedewing them with her tears). Lord — Master — Beloved ! HE (Twms abruptly). Let me contemplate. Light the lamp . . . If when I leave my reverie You are here, death comes to you tonight. (Trembling all over, and with stifl.ed sobs she takes an oil bottle and relights lamp. Still sobbing she picks up her little square lute lohich she trails brokenly after her. At the door she turns appealingly, but utterly broken. He pays no attention to her, for he is sitting on the floor by the Vase — his hands covering his face — like one in prayer. Her eyes travel listlessly round the room like one in stunned sorrow endeavoring 50 THE BLUE VASE to take a last look at a familiar scene. They light upon the gong with the huge ebony hammer. She stiffens and a look of deter- mination comes into her eyes. Almost in one sweeping movement, she crosses the room, and takes the hammer, and with her face convulsed with hatred, raises it loith both hands, and shatters the Blue Vase. He only raises his eyes in time to see the conr. summation of the deed. He emits a great cry. She tremblingly drops to the floor on her knees. The hammer falls from her hands. He advances and stands over her with both fists clenched, but they fall powerless by his Side, for she does not move). HE (Hollowly and brokenly). Now strike the gong: Let them come from all parts of the palace And rend you limb from limb ! (She does not move. He flashes out his sword and she slowly bares her neck to re- ceive the stroke. He raises the sword, but again his arms fall powerless). HE (With a great cry:) My world has gone ! (He plunges the sword into his own breast, and falls among the debris of the 51 CHARACTERS: RIGHT PROLOGUE LEFT PROLOGUE THE MAN WITH THE BUNDLE THREE ROBBERS A TARTAR NOTE ON THE COSTUMES AND PROPERTIES THE two Prologues are dressed exactly alike in long Persian gabardines of a pervailing snuff color. The Right Prologue wears a small turban of dull red and scarlet slippers. The Left Prologue wears a small turban of dull blue and bright blue slippers. The two Eunichs wear large turbans of bright orange and dull gold loin cloths, for the rest they are nude with well oiled skins. The Man with the Bundle is dressed in bright red rags, which he can shed entirely. The Three Robbers are dressed in bright green rags, small black turbans, and they wear large black rimmed spectacles. The Tartar is dressed in orange yellow with a close fitting red cap and brown shoes. The books are bound in purple. DESCRIPTION OF SCENE Walls of cellar are tope; floor black. The narrow staircase, which runs up to center door, is blue. The doors are red with rust, and fitted heavy iron bolts. 55 Prologue (BEFORE CURTAIN) Enter Prologue R. Enter Prologue L. RIGHT (To audience:) Notables! LEFT (To auidence:) Fools! (They both stop). RIGHT Who engaged you to speak this this prologue? LEFT The Author! RIGHT A fine author! LEFT I agree with you. RIGHT Well since we agree Til speak the prologue — Notables ! (Reads from script). LEFT Fools! (He has no script). RITGH (To left:) This is impossible. Two of us cannot speak a pro- logue. LEFT The author made two speak a prologue before. RIGHT Then it is obvious he cannot re- peat himself. LEFT Still less can he repeat others. RIGHT I wish he would, then the public 56 THE PROLOGUE LEFT RIGHT LEFT RIGHT LEFT RIGHT LEFT RIGHT LEFT might think him clever, for they like authors to repeat them- selves. Yes, but it takes a clever author to repeat himself and always seem the same. You are so obvious. Obviously so! Why do you have a manuscript to read your prologue from? Why have you no manuscript? Because my speech begins, "0 Fools!" and yours beings, "0 Notables!" You need a lot of rice paper to prove people are notables, and nothing to prove they are fools! Let us leave it to the audience. (To audience:) Shall I speak the prologue, Notables? Or shall I speak it, Fools? (Tivo sets of voices clamour from the audience). What is that? That is the Notables clamouring 57 THREE ORIENTAL PLAYS to be called "Fools/* and the Fools clamouring to be called "Notables." RIGHT You are wrong again. It is the Fools calling themselves Nota- bles because they are in the cheaper seats, and the Notables calling themselves Fools be- cause they paid more when they might have seen the play for less money and bought rice with the residue. Or opium. The same thing! they both bring us one step nearer the grave. Only rice does the more harm; it makes the way to the grave longer. That's not your own tohught, you stole it from the author. It sounds like his style. I believe it's in my manuscript. (Looks). LEFT You needn't look. The author has no thoughts of his own to LEFT RIGHT LEFT RIGHT 58 THE PROLOGUE steal. You insult the author! (With rage). You are worse ; you insulted the audience; that's much worse. You insulted them for spending money to see the play ! It's always safe to insult au- thors. Besides, they are used to it and audiences are not. (They are turned to one another en- raged. Loud strokes on the gong. A hand- ful of rice is thrown from right. Another mPTTT"^^* ^^^^ ^^^^ ^^ ^^^^^ succession). RIGHT LEFT RIGHT RIGHT LEFT VOICE RIGHT LEFT That's the stage manager throw- ing rice at us. He may need it by the end of the week. Come! Come! Come! (Loud noise on the gong). Let them have their stage. How will the audience know what the play is about with no prologue spoken ? It doesn't matter; our author doesn't know what it's about in 59 THREE ORIENTAL PLAYS any case! RIGHT Very well, then! (Threating- ly). Very well; Fll go straight to the author and get him to write an epilogue. (They shake fists in each other's faces. Loud cries. Noise on gong. Two stalwart Eunichs, nude and shining, wearing bright orange turbans, stride in from right to left. They sieze the Prologues round the waist and stride off with them kicking helplessly) . 60 The PI ay SCENE : An underground Eating House in Persia; originally the basement or vault to an old palace, but now used as an eating place for thieves and questionable characters. The Tartar is asleep in the left-hand comer of room. The three Robbers are down front of stage seated on mats eating and smoking. FIRST Is it certain that he will come tonight? SECOND It is a certainty. THIRD Nothing is certain; not even certainties. FIRST He was here three months ago. SECOND Also three months before that. THIRD And, now he may have been dead three months. FIRST And in three months we may all be dead. SECOND Or in three minutes. THIRD Why not ; for see how much hap- pier we should then all be. FIRST That being so, let us all kill our- selves. 61 THREE ORIENTAL PLAYS SECOND Or kill each other? THIRD Why not kill him? FIRST That brings us to where we were in the beginning. SECOND There is no beginning. THIRD Every beginning may be an end. FIRST Like the end of a rope. SECOND But a rope has two ends I THIRD Or two beginnings? FIRST But only one middle. SECOND Which can be made an end to. THIRD Made two ends to. FIRST And thus, two beginnings. SECOND Let us make an end of him. THIRD To him. FIRST That cuts our circle, (Relights pipe), (A pause while they smoke), SECOND Why did we not kill him before? THIRD Because he still lives. FIRST And because he would not let us. SECOND And we were afraid. THIRD Afraid of him? FIRST Afraid of ourselves! SECOND Afraid for ourselves. 62 THE MAN WITH THE BUNDLE THIRD Therefore he lives and we perish. FIRST No one perishes if there is aught to do. SECOND If there is aught to do, we still live. THIRD But yet we die. FIRST We die to reach the end of our troubles. SECOND But there is no end to our trou- bles. THIRD Like the rope. FIRST And the middle of it all is life. SECOND And so we live by thieving. THIRD And so may he. FIRST But his bundle is never bigger. SECOND It is small, but never smaller. THIRD Then the treasure must be big because the bundle is small. FIRST But he never speaks. ^SECOND It is only when a thing is too big or too small that we never speak about it. THIRD But we see it. FIRST Not if it is too small. SECOND Or too big! 63 THREE ORIENTAL PLAYS THIRD And if things are neither big, or small, but medium, then we must see them. FIRST We see nothing! We see over them, under them, round them and through them, but not in them. SECOND Shall we never see in his bundle? THIRD No! FIRST No? SECOND No? THIRD No; because first, we must open his bundle to see inside it, and once it is opened it ceases to be a bundle. FIRST As a man once dead ceases to be a man. SECOND And becomes a reproach. THIRD Yes; a reproach to Nature. FIRST Should we then reproach our- selves for killing him? SECOND No ; we might reproach ourselves for not killing him. THIRD For not killing him sooner. FIRST Or later! 64 THE MAN WITH THE BUNDLE SECOND Or for not letting him kill us. THIRD Perhaps he would not want to. FIRST He would if we had the bundle, and he had it not. SECOND But then we should not want to kill him. THIRD Then he should give us the bun- dle. FIRST He will do so, for we will take it. SECOND When he is dead. THIRD We give him Death in excahnge. FIRST What a Vast thing to give for so little. SECOND We should have killed him be- fore this. THIRD No; if we should we would. FIRST And then we could. SECOND But we could not! THIRD And why could we not? FIRST Because he never spoke. SECOND Then he is very wise. THIRD For only the wise keep silence. FIRST Even the wise cannot keep si- lence when there is no silence to keep. 65 THREE ORIENTAL PLAYS SECOND Then they join in the din. THIRD And make it less. FIRST Because the voice of the wise quietens the tongue of the fool- ish. SECOND Then foolish tongues must make make for wisdom. THIRD Yes; everjrthing foolish arrives at where it never set out for. FIRST Then the foolish are wise? SECOND Yes; for then they cease to be fools. THIRD But we are fools. FIRST Yes; fools not to kill him! SECOND No; fools for ]etting him live! THIRD The same thir.^-I FIRST Not the same thing. I let my father live but not because I do not kill him. SECOND Can we be overheard. THIRD Yes; by our audience. FIRST Then they will not like us. SECOND Then we shall not like them. THIRD But we have to speak this. FIRST And they have to listen. 66 THE MAN WITH THE BUNDLE SECOND They may leava us. THIRD We may leave them. FIRST Then there will be no play. SECOND There will still be a play. THIRD But they will not hear it. FIRST Then they will be glad. SECOND Yes, glad ; because it is rot nice to hear what you do not like! THIRD But if they like it? FIRST Then they will be glad. SECOND So shall we, THIRD So stay, or go, we make them glad. FIRST Shall we stay or go? SECOND Let us do both. THIRD How can we? FIRST Stay now and go when we finish. SECOND But we cannot finish until we kill our man. THIRD He is not our man. FIRST The man with the bundle. SECOND The man with our bundle. THIRD Then we must get it. SECOND (Listening), He is here. THIRD He is not, but will be. 67 THREE ORIENTAL PLAYS FIRST He will not be here soon, but his body will. (Draws a dagger). (The three stand tip simultaneously drawing daggers), FIRST Let us enter when he is asleep. (They exit at right. A tapping is heard and door at top of steps opener The Man With the Bundle enters. Tartar awakens and runs to door at right, listens and runs back to staircase. The man with the bun^ die on his back comes down steps very slowly). TARTAR A good night! MAN The night is not good. No night is good. Night is bad, a bad substitute for day. That's why we sleep at night. TARTAR (With admonition). Do not sleep tonight. MAN Then must I sleep in the day. TARTAR No, you will sleep night and day forever ! MAN Fool, there is no forever. TARTAR There is "ever." MAN Yes ever and ever, and ever, and ever. 68 THE MAN WITH THE BUNDLE TARTAR And ever? MAN Yes ; that is why you have to add and ever. So you see there is no eternity, for when you add one ''and ever" you have to add another "and ever J' It does not matter how many "and evers*' you add, you are still just as far away from eternity as you were in the beginning. (As he enun- ciates each phrase he takes one step down. He is now on the bottom step), TARTAR Do you want to live? MAN Here is a coin. Buy food. You live to want. TARTAR You speak better wisdom than they did. (Points to door at right; jingling coins). Your wisdom is more objective, and you have made me your de- pendent. MAN (Coming down last step). No; I have made you independent. TARTAR And yet, I will warn you. 69 THREE ORIENTAL PLAYS MAN TARTAR MAN TARTAR MAN TARTAR MAN TARTAR MAN TARTAR MAN TARTAR You cannot. I know already. (Indicating door left). They want my bundle? (Nods several times). If they want it long enough they will get it. (Trembling). I'm afraid. So am I. I am more afraid than you because I do not show it. I'm going. I shall stay. (Begging him on knees). No, go — if you are afraid — Master. I never run away when I am afraid. That is the only time when one should stay. Besides it's so simple. (Trembling). Oh Fm afraid — so afraid! Of them? (Getting up and backing away from him in a circle as the man twms). No! No! of you — of you (his back is now against stairs. He runs up the stairs 70 THE MAN WITH THE BUNDLE backwards with distended eyes, and hands held out like claws). — of you ! you ! you ! you 1 you ! you! (The door at top gives to his weight and he disappears in the blackness as it closes with a metalic clang. Instantly the door at right opens and three heads appear one- two-three, one above the other, and then dis^ appear in rapid succession, one after the other. Another metallic clang. The man lifts his bundle off his back and uses it as a pillow, places the rush light at his feet and sleeps. The door at right opens slowly. The first robber creeps out with shoulders hunched. The second crawls out on his knees. The third on his all fours. The door clangs metallically. They all fall flat on their faces. The sleeper wakes, and after a pause, settles to sleep again. The first one gradually rises to his feet from the ankles up vdthout touching the floor with his hands — like a cobra. The second does the same, but in a kneeling position. The third rises also but keeps his hands on the floor. They now speak in rapid succession, toning their speech in three keep like part singers, but subdued). 71 THREE ORIENTAL PLAYS FIRST You heard the Tartar tell. SECOND And he is not afraid. THIRD He sleeps on his bundle. FIRST We must go away — SECOND As if we leave for the night. THIRD But return like new guests. FIRST Striking on the door. SECOND And when he opens it — THIRD Strike! (At the word strike, all rise and turn as one to left, and march upstairs. As they go up- stairs, — loudly — ) FIRST A bundle of rags is no good. SECOND Only as a pillow. THIRD And we have frightened him enough. (All laugh), E-E-E-E- E-E-E-E-E-E ! (Three clangs on the door. Outside E- E-E-E-E-E diminishes and the night owl hoots) . MAN (Raising his head). Only the wise laugh, and only the wise never laugh in the wrong place. (He settles to sleep again). (There comes a timid tapping at the door. Then a rapping. Then three loud 72 THE MAN WITH THE BUNDLE knocks. Then a Yit-Kim player is heard, the music pulsing and soaring upwards. The man rises, takes the long rush-light, and mounts the stairs. The rush-light is in his right hand, and his left is extended like a tvire-walker's. He takes step by step, what time the music sobs and soars, and the owl hoots. When he reaches the top the door is snatched open a7id the three robbers are revealed, two with long knives raised, the third at back ivith Yit-Kim playing. The knives flash, the music throbs, the Oivl hoots. The man throws up his arms and the rush and the rush-light with its porce- lain holder crashes to floor, breaks, and plunges the whole place in darkness, and the man's body falls down stairs, and the door clangs metallically to. The body then is heard thudding dmvn the stairs in dark- ness. The Yit-Kim plays on. First robber heard to run doivn stairs — thud — thud patter) . SECOND (Thud-thud— patter) . THIRD (Thud-thud— patter). With a long discord on his Yit-Kim). (Dead silence for a minute, then the flash of a light as First and Second simidtaneou^- ly light a rush-light apiece. The body of man is lying center, right to left. 73 THREE ORIENTAL PLAYS First stands at head, Second at foot. Third stands on bottom step with Yit-Kim. Bundle is doivn front of body. First and Second robbers have knives raised), FIRST Very quick, open the bundle! SECOND Yes. THIRD (Steps over corpse, laying Yit- Kim on body and opens bundle; the other two stand close on either side), (First and Second about to cut knot tvith their knives), THIRD No! (He unties knot and the THE contents fall out). THREE Books, only books! (The Yit-Kim plays mockingly, accomr- panied by a hollow laugh. The Third falls forward on his face. First and Second fall back on floor, reveal- ing the corpse sitting up playing and laugh- ing mockingly). You think that is all. FIRST A God SECOND A Spirit — and THIRD A Wise Man. 74 THE MAN WITH THE BUNDLE MAN A student and philosopher. FIRST A philosopher and a brave one. MAN And a coward! Look at your knives and see how twisted the points are! (Moves his rags aside). A steel shirt that came from Damascus. The links are fine as silk." SECOND And you said a philosopher! MAN So I am, but my philoosphy is concretely objective and objec- tively concrete. (Strikes his mail shirt), THIRD And only books. (Turning over volumes). MAN Look at the wrapper. (They do so, spreading it out) , Now turn it. (They do so, wonderingly. Cries come from them it is tissue gold). FIRST What! SECOND What is it? THIRD What is it made of? MAN The golden tissue of my dreams I (He tears the rags off, — reveal- ing his mail shirt which gleams 75 THREE ORIENT AL PLAYS like silver). The silver thread of my philos- ophy. (Holds out his arms and the robbers, as if in a trance, put the robe on him). The Second hands his taper to the First and picks up the Y it-Kim, which has a long scarlet ribbon on it. The Third picks up the books, largest at bottom and smallest on top. The man turns to walk upstairs, fol- lowed by the robbers with two tapers — next the Yit-Kim player, and finally the Third with books. They speak as they ascend step by step), MAN Come, filch not money from men, but steal wisdom from secret tombs and from the hearts of the living. (His gold robe trails on the steps. Yit-Kim plays very softly. At the top of steps the man pushes open the door. Rosy dawn is in the sky), MAN Who shall say the night has ended and the day begins! THE THREE Oh say it. Master! (He turm on the top stair. The sky gets 76 THE MAN WITH THE BUNDLE brighter and birds sing). MAN Dawn awaits round the shoulder of the world — waiting — (The three breathlessly), MAN Waiting for mankind to beckon it, if they have the courage! (The scene fades out in a rosy mist). Epilogue ^ (When the light gets brighter the cur- tain is down and the two prologues are asleep right and left. They yawn and wake). FIRST SECOND FIRST SECOND FIRST SECOND Is the audience still here? Yes; they have more patience than we have. I slept through it all. So did I. I'm so tired. Oh! (Yawns). Too tired to renew our quarrel. Yes; if you call it a (yawns) a quarrel. I woke up towards the end and heard something about "man- kind beckoning the dawn." 77 THREE ORIENTAL PLAYS FIRST Who is going to rise on the cold dark morning to "beckon the dawn." When you have to work you must get your full night's rest. Work takes all your time. It leaves you no leisure to "beckon the dawn," as the author calls it. Fine sort of author. Got more time than money. SECOND Perhaps he likes play better work. FIRST Who doesn't! What's that? (Points to floor). SECOND Looks like the leaf out of a book. See, it has gilt edges. FIRST Let's read it. It will do as an epilogue and help the audience to understand the play, which is more than I do. (Picks up leaf. Yawns. They both yawn. He reads:) "He who can wear rags with comfort can wear fine clothes with distinction; and he who can wear fine clothes with 78 THE MAN WITH THE BUNDLE comfort, can wear rags with dis- tinction." (Tears up leaf and yawns) . FIRST That leaves us as far off as ever. SECOND Let's see if the stage manager will let us have a few coins to buy rice. FIRST Or opium! SECOND Both— both. (They ignore avr- dience and stroll off arm in arm} . FINIS 79 o ^ O' O N ^^r^ oV^^^^l^'^'- ^^1.^' ^^Jm^r^. ^^^S ; ,^^°-- . 0^ *L!oL% O >. ^o N 4" ^^ V / f * • '