World Revolution. DEDICATED TO THS PROLETARIAT. | characters WORKMEN ‘WoRKWOMEN [THE NAMELESS ONE OFFICER PREST ‘MAN (an official) SONIA IRENE L. (the Woman) FIGURES IN THE VISION SONIA IRENE 1, (the Woman) THE COMPANION BANKERS [The Second, Fourth, and Sixth Pictures are visionary, projec- tions of a dream.(Back room of a'workmen's tavern. On the VST whitewashed wall are pictures of coder? councils and heroes of the masses. Inthe centre oj the Dp icture room, a crude table around whick a WOMAN and several WORKMEN are sitting.) FIRST WORKMAN: Hard-bills have been distributed ‘In the grea: convention h: ‘To-morrow the factories ‘The masses seethe. To-morrow—the decision. ‘Are you ready, comrade? ‘Tite WOMAN: Lam. | Strength grows with every breath— ‘How Ihave longed for this hour, ‘Where the heart's blocd finds words, And words grow into deedst ‘Impotence shook me often—and I clenched My hands in shame and agony and fury. I close early. Even the dog, it seems, barks for it as he leaps ‘When I come home. . . 1 feel it in each vein. The masses rise, Free of red taps, of wes spun out60 AVANT-GARDE DRAMA By well-fed gentlemen around green tables, Armies of mankind, with overpowering purpose, Will build a structure of peace to unknown delat Thoredliag...fagcf bight bepiaings .. Banner of daybreak. . ‘Who will led with it? © ‘SECOND WORKMAN: You! They follow you! (Silence flickers.) ‘THE WOMAN: Can we be sure no one has talked? ‘You think the police have had no information? Suppose thesoldiers forma chain around the ball? FIRST WORKMAN: The police know nothing.And if they do, They never know our real intentions. ‘When once the masses can possess the hall ‘They'll make a raging flood that no police Can tame into a plashing, park-like fountain, Besides, the police won't dare to interfere, Broken ranks have eaten up their sense of power, ‘The regiments, moreover, are on our side— Councils of soldiers everywhere! ‘To-morrow—comrade—the decision! {A knock.) Betrayed! ‘SECOND WORKMAN: They must not find you, FIRST WORKMAN: Only one door. ‘SECOND WORKMAN: Through the window! FIRST WORKMAN: The window opens on an ait-shaft. Tz WoMAN: And the struggle 60 near . .. (A louder knocking, The door is opened. The MAN, his coat-coliar pulled up, comes in, looks about him quickly, fand raises his derby.) A-triend.... And there's no danger... You come to ‘me; ‘You find me. ‘THE MAN: Good evening. (Softly.) Please don’t introduce me, May [speak with you? ‘THE WOMAN (10 the ormrERs): Comrades. . ‘THE WORKMEN: Good-night. Until to-morrow. (Exeunt.) ‘THE MAN: I must make it clear, I did not come to help you. ‘Man and the Masses 61 THE WOMAN: Forgive the dream that blossomed for a ‘moment. ‘THE MAN: My honour's threztened—that is why I'm here. ‘THE WOMAN: And I'm the cause? How strange. . fHonour, you say. Honour of the bourgeois class? nd were there tongues of disapproval? Did the outraged majority hreeten to bar you from its sacred ranks? (B MAN: Please don’t be flippant. deration for others—an emotion to which you are a stranger— § Proof of the very culture you deride. fren your new-found frimds, your o-aled comrade certain measure of respect— 'E not from conviction, then for appearances.62 AVANT-GARDE DRAMA A wish bom of a conflict of emotions, Jam, you understand, far from implying ‘That this wish springs from any base desires. ‘THE WowaN: How you can wound me with your words... ‘Tell me, have you ever seen the pictures of Maéonnes In peasants’ houses? ‘Swords pierce the breast, the heart bleeds rest da team, ‘Those gaudy, hideous, terribly moving prints . ‘So common—and so great... You... you . ‘You speak of desi J know—a chasm yawns between us... But it was not a whim that made me tura, No wish to change my way of living. It was a need... Need of my very self, ‘Need of the darkest depths of my existence. Need alters us, I tell you, need changes us. Not moods or spells or fits of boredom, But need—the need to be a human being. ‘THE MAN: Need? Have you the right To speak of need? ‘THE woMaN: You . + + do not torture me... + + my husband . Now I hold your head Now I kiss your eyes ., You... wurt you was the lest thing I intended... ‘Can any one overhear us? ‘THE WOMAN: Suppose & comrade does hear us? They have understanding even though they lack your “code of honour.” Oh, if you only understood them, Ang, in lowering thera, you have debased yourself; ‘You have become your own executioner... I do not want the pity in your eyes! T'm not neurotic Not the least bit sentimental, And since I'm Man cndihe Masses 63 , those miserable fot social betterment— soothing syrup Zor your pity and weakness, {aay a comrade feels ashamed for you, en they don't... laugh at you... Tam laughing. THE was: Sogou may as well know everything, -y know about you—the autho: hours you put aside ardless of the consequences, ich, you may be sure, fect me, too, pecially since you would harm both the career ‘your husband and the welZare of the State... ‘ou help the enemy within our gates. is gives me grounds for a divorce, ‘THE WOMAN: Of course .. . if Ihave harmed you, Thave stood in your ‘THE WoMAN: Then, of cou:se, n... Jam prepared , accept the blame... ‘ou need not fear, the trial will not harm you. ‘OU. + my erms stretch out to you it hungry need, my blood swell = “Tam : withered le jout you. ‘ou are the dew that makes me ‘ou are the storm whose April streagi ings faming torches in my thirsty veins, . ere were warm rights . of young boys in spring sulting in the vigour of their blood. . fake mo away to meadows, fields, or woodlands; I bow down and kiss your eyes. .. 3 very weak unbelievably. .. (Short pause.) Forgive me—I was weak just now.64 AVANT-GARDE DRAMA see the situation clearly; I understand your action. Novertheless—to-morrow I appear before the masses— ‘To-morrow I speak to them. To-morrow I aitack the State, to which you swore allegiance, ‘Tearing the old mask from its murderous face. ‘THE MAN: Your act is treason to the State, THE WOMAN: Your State makes war; ‘Your State betrays the people! Your State exploits, grinds down Aad robs the people of their rightst «+ War insures its life, Peace is a phantom of weak minds. War is nothing but an interrupted armistice, In which the State continually lives, Constantly threatened by its foes without ‘Aad enemies within. I: How can a body live thet’s eaten up by plague And burned by fire? Have you seen the naked bocy of the State? Have you seen the worms that feed upon it? Have you seen the stock exchanges, the financiers ‘That gorge themse ‘human flesh? You kave not see ‘You have sworn allegiance to the State; ience is quieted. your last word? ‘THE MAN: Good-night! ‘THE WOMAN: Good-night! (As the man starts 29 g0.) May [ go with you? ‘To-night for the last time... Or am I shamel Or am f shameless... ‘Shemeless in my desire? (The wontan jol the man. The stage darkens.) (A 100m of the stock exchange. At the desk, a CLERK; about him BANKERS ‘dud BROKERS. The CLERK has the face of the MAN of the first scene.) second picture (DREAM-PICTURE) cLeRK: Recorded. FIRST BANKER: Munition works, Three-fifty. SECOND BANKER: I offer Four hundred. THIRD BANKER: Four hundred Offered. (The Fourts Banker draws the THIRD BANKER toward the front, In the background there is the murmur of bidders and sellers.) FOURTH BANKER (0 fite THIRD BANKER): Did you bear? Retreat necessary. Great offensive Can't succeed. TOERD BANKER: Reserves? FOURTH BANKER: Human material Running poor. ‘THIRD BANKER: Fos FOURTH BANKER: Thal Although Professor Ude Thinks That rye F Ground down With ninety-five percent. of chaff Will make A food for epicures,66 AVANT-GARDE DRAMA. THIRD BANKER: The leaders? FOURTH BANKER: Splendid. ‘THIRD BANKER: POURTH BANKER: Working Overtime. ‘THIRD BANKER: What's wrong? FOURTH BANKER: The General Has called ninety-three professors To headquarters, Also our expert, Councillor Glubor. ‘There'll be results, ‘THIRD GANKER: They ace? FOURTH BANKER: Not to be discussed In bourgeois circtes. THIRD BANKER: Are the soldiers weakened By love of mar? FOURTH BANKER: Strangely enough, n0. Man hates man. Something's missing. ‘THIRD BANKER; What's missing? FOURTH BANKER: The mechanics Of life What's missing? FOURTH BANKER: Masses need joy. THIRD RANKER: What's missing? . . FOURTH BANKER: Love. THIRD RANKER: That's enough! ‘Then war, As our chief instrument, ‘The mighty powerful instrument, ‘That takes the State, Kings, ministers, Parliaments, ‘Newspapes, churches, And makes them dance, Dance onthis ball of earth, Dance over the sea— ‘This war is lost? Man and the Masses 67 Axswer mo: Lost? Is that the net result? FOURTH BANKER: Your calculation’s poor. The root of the trouble's been found— Will te adjusted. ‘Tank BANKzR: Through what? FOURTH BANKER: Through international arrangements, ‘THIRD BANKER: Is this known? FOURTH BANKER: On the contrery, We'll dress it up in national colours And independent Of the exchange. ‘THIRD BANKER: And well financed? FOURTH BANKER: Syndicate of the largest banks Will underwrite ‘THIRD BANKER: The profit? Dividends? FOURTH BANKER: Will be divided regularly. THIRD BANKER: The form of the enterprise sounds good. But what's the scheme? FOURTH BANKER: We'll camouflage and call it Recreztion Home: A Place to Strengthen the Desire to Win! ‘The real thing: Nationel brothels, ‘THIRD BANKER: Magnificent! Isubsctibe one hurdred thousand. Just one more question, Who regulates the amount cf time, Energy to be spent, et cetera? FOURTH BANKER: They know The standard regulations. ‘THIRD BANKER: The plan Drawn up yet? FOURTH BANKER: To be regulated, As [just said, Three pric: Three divisions. Brothel for officers: Stay there all night.68 AVANT-GARDE DRAMA Brothel for corporals: One hour. Brothel for privates: Fifteen minutes, ‘THIRD BANKER: Thanks. When does the market open? FOURTH BANKER: Any minute, (Noise in the background. TEIRD aid FOURTH BANKER go to the rear.) Tee CLERK: New issue ready: National bonds, ‘War Recreation Home Ltd, FIRST TANKER: I have no order to buy. SECOND BANKER: The dividend does not tempt me. THIRD BANKER: I subscribe to one hund-ed thousand ~Atpat. ‘THE CLERK: Recorded, FOURTH BANKER: Same here. rimst santa (fo the SECOND sanxER): The cool one's ying. «- ‘What do you SECOND BANKER: Just got 2 tafegram: ‘The driv: oa the West front Has been i FIRST BANE ‘The drive on the West front has been lost. (Cries, screams, shrieks.) vouces: Last! A voice: Laffer ‘Munition works ‘At one-fity. ‘8 vorce: 1 offer Liquid Fame Trast. Man and tne Masses 65 A-vorce: What? When prices are tumbling? ‘A Vorce: Who said we had lost the drive? A.vorce: Is the rumour true? Or just a trick to get control of the market? ‘The cool one Has bought his second hundred thousand, SECOND BANKER: Something's wrong! Switch my order! I buy— One-fifty. avoice: E bid ‘Two hunered. AVoIce: [buy ‘Three hundred, A vorce: Who bids? Four hundred? Tbuy. ‘THE CLERK: Recorded. FOURTH BANKER (to the THIRD BANKER): The old fox has guessed... TAND BANKER: Excuse the question. Has our most important method Been saved? FOURTH BANKER: How can you even ask that? Mechanics of life Are so simple— There was a leak... Itis discovered And stopped at once, A tise Ora fall to-day Mears nothing. The important thing Js to keep our machinery going, And 50 it follows ‘The system is safe. THE CLERK: Recorded. (The COMPANION enters. His face ts a composite of the jeatures of death and the most radiant life. He leads the WOMAN.) ‘THE COMPANION: Gentlemen, .70 AVANT-GARDE DRAMA. ‘You're ordering too quickly. “Blood—and the System! “Man—and the System! ‘You cannot unite them. One stamp of the foot And your whole mechanism Js broken Like a child's toy. Look out! (To the WOMAN.) Speak to them! ‘THE WOMAN (quietly): Gentlemen: ‘Human teings! (The companion and the woman jade. Sudden silence.) ‘TaraD BANKER: You hear? A disester in the mines. Seems People are in distress. FOURTH BANK] A Charity Festival. Dance On the floor of the stock exchange. Dance To aid tte suffering, Help The unfertunates, If it’s convenient, have an idea: [contribute ‘One bond War Recreation Home Lid. ‘A vou: How about women? FOURTH BANKER: AS many zs you want, Someone tel! the doorman: Five hundred 1 Young girls sille hats dance a fo darkens.) Manand the Masses 71 feces. The BANKERS in their high ot around the exchange. The stagehir ad (The stage remains dark.) picture CHORUS OF THE MASSES (as from a vast distance): We who are huddled for ever cations of steel, cramped under cliffs of houses, fe who are delivered up fe whose features are lost in a night cf tears, fe torn for ever from our mothers, tof the depths of factories, we ery to you: en shall we, living, know the love of life? 1en shall we, working, feel the joy of labour? en shall celiverance come? F (The stage becomes light. A creat hall. On the long narrow table. At the left, the WOMAN is sitting. In the rocm, WORKING MEN and WORKING WOMEN are packed closely together.) GROUP GF YOUNG WORKING aris: And struggle breeds new strugates! fo compromising with these masters, lo loose agreements, feeble compacts. ive orders toa group of comrades: mamite in the machines! (To-mocrow factories will explode into the air. ‘Machinery hersis us all ike beasts in stockyards, |. Machinery clamps us in its metal vise, Machinery pounds our bodies day by day rivets... .screws ...74 AVANT-GARDE DRAMA Screws... three millimeters... .serews .. five millimeters, Withers our eyes, eats up our fingers, While bodies goon living... Down with the factories: Down with machinery! SCATTERED CRIES IN THE HALL? Down with the factories! Down with machinery! ‘THE WOMAN: Once when [was blind, and felt the rods Of engines pierce me and machines suck up my blood, J, too, cried your despairing © Teisa dream that fimits your own ‘A dream of children, frightened by For, see—this is the twentiath century. We must realize The factory canact be wiped out. Take all the ¢ynamite on earth, ~ And, in one night, blast all the Factories, By neat spring, they wil rise again To livemore terribly thaa ever. Factories must no longer be the master, And man the raw material. Factories must be our servants, Helping to make a richer life. ‘The soul of man mast master factories. CROUP OF YOUNG WORKMEN: Let them and us be de- troyed together! See how cur worés rush to revenge and fury. “The masters live in palaces; ‘Our brothers rot in filthy trenches, ‘Somewhere there’s lively pleasure, dances, songs— ‘At night we read of them and grind our teeth! ‘And longing burrs in us for ligh: and kaowledge. . «+ “They took this holy thing And it turned horril ‘Sometimes, but rare In thetheatre, ‘And itis sweet. . .and clean... and always mocking! Unscbocl their hatred cheated us of yout, An sckcolrooms they destroyed our souls. ‘Nothisg but need makes us cry CUS +++ itshines out at us tumed us away GRCUP CF AGRICULTURAL LAROUR! vur mother earth, ‘Man and the Masses 75 ‘These rich men buy up land as they buy street girls, Amuse themselves with her, the holy mother, ‘And toss our rav/ flesh into munition plants. But we grow sick, uprooted from our soil, ‘The unhappy cities sour us, break our strength. ‘We want the land! ‘The land for everybody! (CROWD IN THE HALL: The land for everybody! ‘THe woman: I went through the sium. Gray rain cripped from dirty roofs; | Fungus sprouted from mouldy walls. | And inone room there sat an invalid Who stuttered, “We were Letter off out there... > Here we live ina pig pen... Innit true... .in a pig pen?” ‘A shamefaced smile slipped from his eyes. ‘And his shame shamed me... « Brothers, co you want to know the way out? ‘There's one way left us weaklings, For us who hate all war. Strike! No more contracts, compromises. ‘Letour answer be, Strike! We weak ones will become as strong as granite, ‘Noweapon made can hope to conquer us. Call to our mute battalio Try Moloch bas fattened on our bodies Forssixlong years, Pregnant women collapse upon the streets, Sostarved they cannot even carry The burden of the unborn. Want stares at you in your homes; Pestilence and madness glaze at you, ‘And hunger, festering tuager. .. But there—look over there! “The kenkers spend tnemselves in bacch Champagne drowns every hard-fougat victory; Tust leaps and ficense stirs the dance ‘Around the golden altars. ‘And at the front?76 ANANT-GARDE DRAMA ‘Can you see the withered faces of your brothers? Feel their bodies ‘Clamny in the fog and frost Of twilight? ‘Smell the breath of thet decey? ‘Hear their cries? Lask you. ‘Hear them calling? “Brothers, we turn to you! ‘We, chained to the Slanks of cannon, ‘We heipless ones, Weeryto 7 Help! Be our jours! ‘You—be our rescue!” Hear me. Lery, Strike! ‘Waoever again eats munition wages Betrays his brother. And you, you women! Do you kaow the stcry cf those wives ‘Who remaia barren Because they helped forge deadly weapons? ‘Thinkcf your men out there! Tory, Strike! CROWD IN THE HALL: We cry, Strike! We ery STRIKE! (Out of the crowd in ihe hall, the NAMELESS ONE emerges. Ke hurries to the platform, placing himself to the right of the table.) THE NAMELESS ONE: The man who wants to build « bridge Mast jay attention to the pillars strike to-day is ahasty bridge without supports. ‘We must have mere than just astrike. ... Let's cant the thing's successful, Suppoee your strike forces them to a peace, Tt is nct Peace you've won—you've mate a peace. Instead of peace, you have a pause. That's al. ‘War must be stopped entirely, Once nd for all time. But fint, one final, desperate battle! ‘What vill you gain if you hal this one struggle? The pace that youcrecte Man and the Masses 77 Will leave your situation asitis ‘On one hand, a false peace and old conditions, On the other, a swil . ‘You fools, breaic down foundatio Break the foundations, [tell you! ‘Then let the flood of your power wesh away ‘The mouldering structure Which only gold chains Keep from fallingapart. Let us build asystem under which we can live. ‘The factories belong to all the workers And not to old man Capital. ‘The time has passed wrhen, on our burdened backs, ‘He looked zround with greedy eyes For foreign treasures, ‘And planned fresh wars, enslaved an alien people, ‘Compellec the lying tongues of newspapers to scream: “The Fatherland! All for the Fatherland?" ‘While underneath it rang the real refrein: “For met Forme!” ‘That time has passed! ‘The masses of all nations have one cry: ‘The factories belong to all the workers! All power to the workers! All for us allt Tery for more than Strike! Tery, War! ery, Revolution! ‘Our exemy up there won't pay attention ‘To any pretty speeches. Force against force! ‘THE NAMELESS ONE: Yes, arms are all we need! Go out and get them! Storm the city ‘The battle c ‘THE WOMAN: Tost... THE NAMELESS ONE: Quiet yourself, comrade. Frantic appeals, clasped hands, and tearful prayers Produce a0 children.78 AVANT-GARDE DRAMA Consumptives can’t get well on watered soup. ‘You have to use an axe to chop down trees. ‘THE WOMAN: Hear me... Ido not want fresh murders. ‘THE NAMELESS ONE: Silence, comrade, What cen you know? ‘You suffer our distress, I grant you that. But have you worked ten hours ia the mines, ‘A homeless child in blind, encrmous rooms; ‘Ten hours in the mines—and the dark hut at evening? .. That is how day comes daily to the workers, You are not one of them. Mass is powerless. Mass is week. ‘THE NAMELESS ONE: How little do you realize the truth! Mass is eeder! Mais isstrengtht (CROWD IN THE HALL: Is strength! aifz WOMAN: Emotion pulls me toward the darkness But all my conscience eries cut, No! ‘THE NAMELESS ONE: Keep silent, comrade! ‘The canse demands it ‘ternal peace. peuce, a musk of mockery, the end of misery! crime a half-remembered fable! It is theawn of freedom for all pecple! ... You think Ireckon lightly? It is nolonger a matter of choice. War's anecessity for us. Man and the Masses 79 ‘Your advice means discord. For the sake of the cause, Keep silent. You...are... Mass. You...are... right. ‘THE NAMELESS ON: Beat in the s of the bridge, O comrades! Drive over everyone who stands ia cur way. ‘Mass is action! CROWD IN THE HALL (as they storm out): Action! (The stage darker.)é (A court with a high ourt. On ihe ground in the midi alaniern which gives a miserable light. Pp icture WORKER GUARDS suiidenly emerge from the comers of the court) (DREAM-PICTURE) Ist GUARD (sings): My mother Bore me Ja the mad of a trench, Lalala la, Hm, Hm, SECOND GuARD: My fether Lost me Ina brawl with a wench. ALL THE ovaRos: Lalals a, Hm, Hm. ‘THIRD GUARD: Three years Ubreatred In the prison stench. ALL TBE GUasps: Lalala Ta, Hm, Hm, Pith silent, ghostly steps, the NAMELESS ONE appears from somewhere. He staads near the lantern.) FIRST GUARD: Deer father Forgot ‘To pay mother's fee. ALL THE GUARDS: Lalafa Ie, Hm, Hm. SECOND GUARD: Poor mother Never Gave anything free. ALL-THE GUARDS: Lalala Ia, Hm,Hm,82 AVANT-GARDE DRAMA ‘THIRD ouarD: troubled The goddam Bourgeoisie! ALL THE GUARDS: Lalala la, Hm, Hm. ‘THE NAMELESS ONE: Come, dance! Tilpley for you, ‘THE GUARDS: Halt! ‘Who are you? ‘THE NAMELESS ONE: Did I ask your names, Nameless ones? ‘THE aUAKDS: The password? ‘THE NAMELESS ONE: Mass is nameless! ONE OF THE GUARDS: Is nameless. He's one of us, ‘THE NAMELESS ONE; I'll play for you, T, who announce The great decision. (The NAABLESS ONE begins to play @ harmonica. The his tune are alternately rousing, swaying, and then pondereus and stormy. A CONDEMNED MAN, a rope around his neck, steps out of the dark.) TEE CONDEMNED MA OF these condemned t ‘We beg @ final Favour: Let usjoin the dance. ‘The darce is the very centre OF things. Life, torn of the dance, Ureesaad rens To the dance; To the dance of desire, To whirling Time And is dance of death. ‘THE cUARDS: One should always Grant the condemned ‘Theirlast request: Invited, ‘THI NAMELESS ONE: Come, ther! ‘One is as good as another. Maen ond the Masses 83 THE CONDEMNED MAAN (calls in the darkness): All these Condemned to death, Step up! The last dance! Let the waiting coffins ‘(All the CONDEMNED, with ropes around their necks, step out of the darkness, G3ARDS Gnd the CONDEMNED dance about the NAMELESS ONE.) ‘THE GUARDS (singing): To the mud of a trench . .. (They dance on. After a short pause.) | In a brawl with a wench... (They dance on. Ajter a short pause.) In the prison stench . (They dance on. The SAMELESS ONE breaks off suddenty. PROSTITUTES and THOSE CONDEMNED TO DIE run off to the dark corners of the court. Night swallows them up. The Guarns strike a posture. Silence surrounds the NAMELESS ONE, The COMPANION, in the guise of a guard, glides through the wall. He holds a WoMaN, who has the face of the woMAx of the preceding scenes, close to him.) ‘THE COMPANION: The journey Isdifficult. The result Repays your trouble, Look there— The drama Is about to begin. Ifthe impulse tempts you, Act with it (A oar brings in a PRISONER who has the features of the Mant and leads him 10 the NAMELESS ONE.) ‘THE NAMELESS ONE: Condemned By the tribunal? ‘souanp: He brought death Upon himself. Heshotat us. ‘THE PRISONER: Dexth? ‘THE NANELESS ONE: It frightens you? Listen: Guard! Answer me. Who taught us84 AVANT-GARDE DRAMA. Capital punishment? ‘Who gave us weapons? ‘Who said “Hero” and “noble deed"? Who glorified violence? THE Guarps: Schools, Barracks, War. Always THE NAMELESS ONE: Force .. . violence and force. ‘Why did you shoot? ‘THE PRISONER: Iswore To protect the State. TEE GUARDS: To the well with him! ‘THE NAMELESS ONE: Guns loaded? THE oUARDs: Loaded. THE PRISONER (against the wall): Life! Life! (The WoMaN tears herself from the COMPANION.) ‘THE WOMAN: Don't shoot! Therestands my husband Forgive him As, too, humbly, forgive him. Forgiveness is sostrong And far beyond ell struggles. ‘THE NAMELESS ONE: Do they forgive Us? ‘THE WOMAN: Do they struggle For the people? Do they fight For humanity? THENAMELESS ONE: The Mass counts, THE GUARDS: To the walll AGUARD: Forgiveness is cowardice. Yesterday Tescaped From the enemy over there. ‘They stood me up against the My body covered with bruises. Next tome the man Who was to murder me, Thad todig l, ‘Men and the Masses 85 My grave ‘With my own hands, In front of us ‘The photographer, Eager toetch Murder On his plates. Tsay, to bell with the Revolution Ifitlets ‘Those grinning murderers over there Make monkeys of us. Tsay, To hell with the Revolution! ‘nite GUARDS: To the walll (The jace of the PRisoNER chenges to that of one of the GUARDS. The WOMAN speaks 10 the GUARD who has just finished.) ‘THE WONAN: Yesterday they stood you Against the wall. Now you are standing Against the wall again, ‘That is you Who are standing there Against the wall to-day. Man— ‘You are he, Recognize yourself— ‘You are man, A GUARD: The Mess counts. ‘THE WOMAN: The Maa counts. ‘ALL THE GUazps: The Mass counts! THE WOMAN (despairingly) : 1 give Myseli. All of myself... to you. (The Gusts laugh Tewdly. Placing herself next to the Tam sotired... (The siage darkens.)(The hail. Gray dawn crawis through the windows. The platform iminated with a gloomy light, i; ‘The WOMAN sits at the left of the long Sifth rable, the NawELnss ON of fe right, . WORKER GUARDS at the doors oj the hall, picture In the hall, isolated WORKMEN and ‘WORKWOMEN huddie about tables.) ‘ree WOMAN: Has any news come within the last hour? Forgive me, comrade, I slept. THE NAMELESS ONE: Report crowds upon report. War is war; A bloody game and one to be played coolly. Before midnight we occupied the station. At one o'clock we lost it. ‘Detachments are moving up now For a fresh assault. ‘The post-office is in our hands, At this very moment ‘Telegrams are being sent to the nations, ‘Telling them of our work. ‘THE WoMAN: Work! What a holy word! THE NAMELESS ONE: A holy word, comrade! ‘It calls for more than speeches and 2 warm heart, It calls for implements of steel, are jlickering silence in the hall.) Comrade, for all you say, I cannot be com ince, To fight with weapons is to win through force, THE NIMELESS ONE: Mental weapons zre also a force in battle. ‘Words can be murderers.—88 AVANT-GARDE DRAMA Don't ke so startled, comrade, Ideal in naked truths. Why, if I thought as you, Pd be a monk ‘Walking some cloister in eternal silence. (Silence seems to sink heavily upon the hall. rmst WORKIN enters.) FIRST WORKMAN: I Dring news. We advanced three times against the station, ‘The place is thick with dead. Damn them, they're well fortified, Supplied with every kind of weapon, Flame-throwers, hand-grenades, poison gas. ‘THE NAMELESS OnE: You advanced three times, ‘Aad the fourth time? Fins WORKMAN: We did not advance four times. ‘The others charged on us, ~ |THE NAMELESS ONE: You held them, Do you need suppo: ve have been scattered. Reverses were to be expected. Altention! Go to the thirteenth distcict; ‘The reserves are there, Go—hurry! THE WoMaN: He spoke of dead, ‘Many huncreds. ‘Yesterdey J cried out agai Aad to-day... [et them I et brothers be flung to death THE NAMELESS ONE: Your vi In yesterday's war we fought THE WOMAN: And to-day? ‘THE NAMELESS ONE: To-day in (evered silence.) THE WoMAN: In both wars ... humaa beings . . In both wars .. . human beings... GSilence reels, SECOND WORKMAN stumbles in.) (The WoREMAN goes.) tle we are free. The enemy gives no quarter, Any one captured is shot! CemmsT WoRKMAN rushes in.) FIRST WORKMAN: I come fom the thirteenth district. Struggle is useless, ‘Mar. and the Masses 89 ‘The streets are closed. ‘The work has failed. ‘THE WOMAN: It hed to fail... ‘THE NAMELESS ONE: Once more, keep silent, comrade! Our work is not a failure. If we were not strong enough to-day, ‘To-morrow there'll be fresh battalions FOURTH WORKMAN (crying in the hall): They're coming out against us! Erect barricades! Were the defenders! Our blood is ripe for batt Let them come: (WORKMEN storm into the hall.) FIFTH WORKMAN: They're butchering everyone, ‘Men, women, children. We won't surrender to be killed Like captured cattle! They're bu everyone; we must resist them to the end. Aad set a premium on our flesh. . .. E Weapons are in our hands. We're bringing bourgeoisie that we've captured; [ gave an order to shoot . We'll shoo: the other half if their shock-troops get us, ‘THe NAMELESS one: You avenge your krothe:s, Mass is revenge for the wrongs of centuries Mass is revenge. ‘THE WORKMEN: Is revenge! ‘THE WoUAN: Madmen, drunk xith battle! I stay your arms! Community is rot revenge. Community tears up the roots of90 AVANT-GARDE DRAMA Community plants the flowers of righteousness, ‘The man who revenges himself creates nothing; He only destroys — You shot half of your prisoners! ‘That was not self-defense? Blind rage, not service to the cause. You kill men. Do you kill, wi th Which you are fghting?... . T'm going to help those mea out there. Iwas prepared To cripple my own conscience For the sake of the Mass. Tery: Break up the system! But you—you wantto break up men, I can’t keep silecce, not to-day. Out there are men, Born in the blood of swiTering mothers . . ‘Men for ever brothers. ... ‘THE NAMELESS ONE: For the last time, keep quiet, comrade. Force . ... we need force... y thinks nothing of our lives, ‘They will not spare us. War is a grim affair; it can't te won With pious looks. Prattle of petticoats! TH WOMAN: I cry, Stop! And you... who... are i? ed lust for power— bhas been caged for centuries? Nameless one—your face? You are...? ‘THE NAMELESS ONz: Mass! THE WOMAN: You! . .. Mass! Teannot bear you! Lmust protect those men out there. For many years I've walked along with you, Tknow—you've suffered more then I... ‘Mon and the Messes 91 Ihave grown up in light and happy rooms, Never knew hunger, Never heard crazy laughter Reeling from filthy hangings. Still I could feel for you And know you, ! See, 1 come to you now, a pleading child, Quietly, humbly. Listen to me: Break down the pillars of injustice. Break the old chains of hidden slavery. But also break the weapons of a rottiag age. Shatter hatel Shatter revenge! Revenge is not the purpose to reorgenize, Revenge is not Revolution. |. Revenge is nothing but an axe that splits ‘The clean and glowi | The power of Revolution. THE NAMELESS ONE: How dare you, woman from another class, Poison us in the hour of cur decision? I bear another accent in your talk. ‘You hope toshield those with whom ycu have grownup, ‘That's your real purpose, You are betrayal. CROWD IN THE HALL (pressing threateningly about the womas) : Betrayal! 0 the wall with her! ‘THE NaMELess ONE: Your shielding them is treason. ‘The hour calls for conflict, Pitiless confict. Who is not ,, The Mass must triumph, (CROWD IN THE HALL: Must triumph! THE NAMELESS ONE: You are arrested. THE WomAN: I... , shield those . . + with whom T have ‘grown up? Not shield yout Jt is you who are standing there against the walll [S Ishield your souls! 1 Ishield humanity, divine humanity. %. Insane accusers... i92 AVANT-GARDE DRAMA ‘Man and the Masses 93 side doors are burst in with a single blow. soupyes with Js ther fer lay wonde? oneal in stand at every door.) Thave chose: oaeoph ‘Hands up! You lie...you lie. (A WORKMAN enters the hell.) WORKMAN: One of our prisoners barks, Berks the same tune, barks all the time. ‘Wants to be taken to the woman who leads us. ‘THE NAMELESS ONE: Proof. THE WOMAN: Again .. . you lie . Who wants to speak to me—wh Perhaps the man. Lnever would betray my word for him. But you betray yourselves ... Hands up, I commend! ‘Where is the woman that leads you? Why don’t you stick up your hands? } Here—puton the handcufls. (SoLpiers handeuf the WOMAN, The stage darkens.) KB leaves the platform, diving into the im the hail, WORKERS throng in from crins: Fiyt S: (Scattered door.) ‘The door is blocked . ter! outside. The workers crowd to the lent waiting for death.) Acky: We diet (SOMEONE begins to sing the “Internationale.” oTHERS join in, Powerfully.) Awake, ye slaves of every nation, Enchained to hunger, The depths are loud wit ‘The dawn grows bright—t ‘The way is clear, old bords are breaking; Rise up, ye masses, seize command! A new world's ours for the taking, We slaves bring power where we stand. Comrades of every nation, March on, our flag's unfurled. Arise to your salvation! Arm, arm—and jree the world! (Suddenly @ short rattle of machine guns. The song is snapped off. The door at the principal entrance and the(Boundless space. In the heart of it, a cage ‘surrounded by a cone of light. Crouching sixth DEGLI ae ne Meena een i Close to the cage is the COMPANION ir picture the form of a KELPER.) (DREAM-PICTURE) ‘THE HANDCUFFED ONE: Where am R ‘THE KEEPER: In the place Where man reviews him: ‘THE BANDCUFFED ONE: Drive away the shadows. ‘THE KEEPER: Drive them away yourself, (A gray smapow without @ head appears from scme- where.) Furst SHADOW: You know me, one they shot to death? Murderess! ‘THE HANDCCFED ONE: I am not Guilty. (A second gray SHADOW Without a ead appears from somewhere.) SECOND saaDow: You murdered me, I Also, ‘THE HANDCUFFED ONE: You lie! (Other gray snavows without heads emerge from some~ where.) ‘TiMRD SIADOW: You murdered me. FOURTH SHADOW: And me. FIFTH SHADOW: And m2, SIXTH SHADOW: And me. ‘THE HANDCURFED ONE: Help me, keeper! Good keeper! Ae i96 AVANT-GARDE DRAMA aw KEnPER: Ha ha! Hahabe! ‘THE HANDCUFFED ONS: I did not want Bloodshed. FIRST SHADOW: You kept silent. they attacked + Silent when they stole From shooting. First sHapow: Don't deceive yourself, Before that, They shot us. ALL THE SHADOWS: You murdered All of us. THE HANDCUFFEp oNe: Then Lam ., THE SHADOWS: Guilty! Thrice guilevt THE HANDCUFFED ONE: I. ..2m... guilty... (The stapows fade. BANKERS in rt silk hows emerge from somewhere.) FIRST BANKER: I offer SECOND BANKER: Guilty Bonds Are not listed Any more. RD BANKER; Bad investment! Guilty Bonds, Worthless scraps of paper. ‘THE THREE BANKERS: Guilty Bonds Ace a total loss. (The waskens fade.) ‘THE KEEPER: Foolish ona, With your sentimental ‘Mar and tie Masses 97 Attitude to tife— Ef they were They would be dencing About the golden altar ‘Were thousands have sacrificed. And you, also. ‘THE HANDCUFFED ONE: I, Man, am guilty. ‘Tue KEEPER: Mass is to blame, ‘Tue EANDCUFF=D owe: Then Tam doubly guilty. ‘THe KEEPER: Lite is to blame ‘THE HANDCUFFED ont: And therefore must Assume the burden of its ‘THE KEEPER: Everyone lives in himself, Everyone dies his own death, Man, Like every tree and flower, Ripening each in separate ways, Withering by themselves . Discover the answer for yourself! Life is everything. (From somewhere, PRISONERS in their convicts’ clothes enter, walking five’ paces apart. They have pointed caps on their heads, from which hang tettered regs concealing their faces and ailoviing room only jor eye-holes. They walk, ina monotonous rhythm, silently around the cage.) ‘THE HANDCUFFED ONE: Who are you, Forms without faces? Figures! Who are you? Mass Of featureless forms? DULL ECKO FROM A DISTANCE: Mass . ‘THE HANDCUFFED ONE: O Goal ‘THE ECHO (dying): (Silence drios.) ‘THE EANDCUFFED ONE (crying out ‘Mass cannot be guilty! THE KEEFER: Man camnot be 2 ‘THE HANDCUFFED ONE: God is CISTANT ECHOES: Guilty... Mass is necessity!AVANT-GARDE DRAMA. U triumph over God. mer! oie AANOCUEFED ONE: Did Idishonour God? Or did God Dishonour Man? O frightful Decreesof guilt, In which Man after man Ighorriy ectanated. jo Bring God to justice! Vaccuse him! | ECHO FROM A DISTANCE: Bring God The moving PRISONERS stand ssitoot up.) ‘THE PRISONERS: We accuse THE KEEPER: Now you are heal Come out Of te cage. ‘THE HANDCUFFED OWE: Tam free? THE KEEPER: Fettered! Free! "heir arms suddenly ‘The PRISONERS fade.) (Tie stage darkens.) ¥ 4 The sewers cannot keep oa pouring (A prison cell. A smalt table, bench, and iron bed fastened to the wall. A grated hole of light clouded by frosted glass. The WOMan sits at the table.) seventh | picture ‘THE WOMAN: © path thet Ieads thzough fields of ripening wheat In August days... . Wardering on wintry hills before the dawa... FO beetle drinking in the oreath of noon. . O world... (Silence spreads itself gently about the WOMAN.) Did I tong for a child? (Silence soars.) P How life divides us all in two! Bound to men and bis desires. To those we love... and hate... Bound to our enemies? Hound to ourselves? need him nov. . . he must confirm me, imlocked. The MAN enters.) : Wile... [have come, Come because you called me, THE WoMAaN: Husband... | Man... THE MAN: I bring good news, ‘Their Gilth upon your name... my name, whenever they like, x The investigation of the recent murders i Stowed that you were not guilty of the outrageous shootings. Courage! The sentence committing you to death Has not yet beea confirmed, é100 AVANT-GARDE DRAMA In spite of treason to the State, The nobility of ain. Is always respected By all right-thinking people. am without guilt... to every tight-thinking person. To every right-thinking person... . Tam so burt... ‘And glad, because your name, free of disgrace... ‘THE Man: I knew you were not guilty. ‘THE WOMAN: Yes . .. you knei Respect for good intentions... You're so respectable! Isee you now so clearly... ~ ‘And yetits you who have been. guilty —hustand, You. . .guiity of all these deaths. ‘THE MAN: Wife, Leame to you. Wife . .. your speech is hate. ‘THE WOMAN: Hatz? Never hate. Ilove you—love you with all my blood. ‘THE MAN: T warned you against the masses. Root up the masses and you root up bell. ‘THE WOMAN: Hell? Who made thet Who built the torture of your golden mills ‘That grind and grind out profit day by day? is who cried “holy war”? In which, each day. is piled the flth of yesterday? Who robbed these brothers of their human features, Who drove them into factories, Debased them into parts of a machine? You're w respe Didn't Isay 1 saw you all too clearly? ‘You'vedeen so weil brought up. You—tdl all your right-thinking people é ‘Man and the Masses 101 ‘They never have been right... ‘They are the guilty ones... We are all guilt Yes, 1am guilty...’ guilty to myself, Guilty to ell mankind. came to vou, Is this a court of justice’ a court of justice! I, the accused, am also judge, [bring the accusation .. . and pass sentence; Pronounce acquittal And the final blame . . Can you surmise .. . who bears the final blame? ‘Men must desire to work, And work grows red with the dear blood of mea, ‘Men must desire to live, And they must swim though seas of human blood. ‘Can you surmise... who dears the final blame? . Come, give me your hand, Beloved of my blood. Ibave conquered myself... ‘Myself and you. (The stan breaks into trembling. A thought, suddenty up, distorts his face. He stumbles out.) Give me your hand... Brother, give me your hand; ‘You also are my brother— You have gone... you kad to go... ‘The last road runs across a snowfield. The last road never knows companions, The last road winds without a mother, The last road we walk alone, (The doors opened. The NAMELESS ONE enters) THE NAMBLESS ONE: Cured of illusions? Free of dusty dreams? Has knowledge thrust a deeger through your heart? Did the judge say “human” and “you are forgiven”? It was a wholesome lesson, I congratulate you on your conversion, Now you are ours again ‘THE WoUAN: You! Who sent you? THE NAMELESS ONE: The masses.102 AVANT-GARDE DRAMA ‘THE WOMAN: They've not forgotten me? ‘The message .. . the message ‘We escape? Is everything prepared? . "THE NAMELESS ONE: ‘Two keepers have been bribed, trike him down, for me? ‘There's one more at the gute. ‘THE WOMAN: You'd murder him ‘THE NAMELESS ONE: For the cause, ‘THE WomaN: [have no right To win life through a keeper's death. . ‘THE NAMELESS ONE: The masses have a right to you. ‘THE WoMAN: And the rights of the keeper? rs ere men. On one sic group belonging to the mass, On the cther, the class belonging to the State, THE WOMAN: Man is naked. ‘THE NIMELESS ONE: Mass is godlike, THE WoMAN: Mass is not godlike, Force made the mass. Evils of property made the mass, ‘Mass is the movement of distress, Is meek éevotion . Js terrible vengean Is blinded slavery urpase Maas oh fertefcid that as been trampled: ‘Mass is the choked-up, inarticulate people. And action? J And more than actiont To free man in the mass; ree community in the mass. “7 ie hint ass owe The raw wind efore the gates Will healyou. Hurry! We haveonly a few minutes left, ‘THE WOMAN: Youare not deliverance, are aot salvation. youare, fied. Always your cry is “Kill him!" here is to set you free. ‘Mon and ihe Masses 103 Your father's name is War. You are his bastard. ‘You poor, new head-of staff of executioners, Your only remedy: “Death!” and "Shoot them dowal” Throw off the mantle of your lofty phrases, ‘There’s nothing but a woven tissue of lies. THE NAMELESS ONE: The murder-generals battled for the State! THE WoMAN: They murdered, but they did not kill with joy. Like you, they all believed in their own mission. ‘THE NAMELESS ONE: They battled for the cold, tyrannical State; We battle for humanity! THE WOMAN: You murder for humeni As those deluded ones murdered for the St F. Aaé there were some who surely felt i That through their State, their fatherland, f: The earth would be redeemed. [see no difference: 4% These murder for a singie country, P The others kill for every country. These murder ior The others for a million, ‘The one who murders for the State, > You call anexecutioner. # But he who murders for mankind Is called a saviour; you crown him é Courageous, noble, grest. Yes, you cen speak of gcod ane holy violence! THE NAMELESS ONE: Rail égainst othe il ageirst life itself! Should I let still moze 5 be enslaved Because their enstavers chain them ia good faith? And are you the less guilty Af you keep silent? ‘THE WOMAN: The torch of sloomy violence cannot show the way. You lead us to a new and curious land, The land of ancient buman slavery. 4 If fate bas pushed you forward at this time And given you a reckless power To biandisi and betray the desperate crowds zkAVANT-GARDE DRAMA 104 ‘Who look to you as to a new Messiah, know this—such a fate will turn against the man. ‘THE NAMELESS ONE: Mass counts and not the man, ‘You're not our heroine, our one-time leader. Each person bears the taint of their extraction; ‘You have the bourgeois symptoms: ‘Weakness and self-deception, ‘THE WOMAN: You have nc love for man. S ONE: The principle above everything! Tlove posterit ‘THE WOMAN: The individual above everything! ‘You—you would sacrifice All living men For a principte. ‘THE NAMELESS ONE: The principle demanés the sacrifice. _ But you betray the masses; you betray the cause, ‘These are the days when one must make decisions. Who hesitates and lacks determination, Supports the masters who bear down upon us, Supports the masters who have le: us hunger, Ts our foe. ‘THE WOMAN: I would betray the masses If I demanded a single human life. ‘A leader has no right to sacrifice any one but himself. Listen: no man has the right to Kill another To forward any cause, And any cause demanding it is damned! ‘Whoever, in its name, calls for the blood of man Js Molex God was Moloch. State was Moloch, ‘Mass was Moloch ‘THE NAMELESS ONE: And what is holy? THE WOMAN: Some day .. Brotherhood . .. Free men bound only by their common work . .. Work ... People. THE NAMELESS ONE: You lack the power to face the un- yielding fact, ‘The need to act. Free mer. will only come ‘Through hard facts and through harder deeds! tone by dying. ‘Pecheps your death wil ire Woman: I ‘THE NAMELESS ONE: You were born too soon. (The NaMELEss ONE leaves the cell.) ‘THE WOMAN: You lived yesterday. FYou live to-day. ‘And you are dead to-morrow, Alive forever, From sphere to sphere, ‘rom change to change, Til some day I become (4 PRIEST enters.) }. THE PRIEST: I come to give you final consclation; ‘Tae Church does not refuse assistance even to the criminal, TEE WOMAN: By whose orders? ‘THE patest: Tae State authorities directed me. THE WOMAN: Where were you on the day of the trial? Leave me! ‘THE ParEst: God forgives you, too. I understand you, { Against the holy State and sacre ! Man is all evil—bad From the beg p) Tne PRtzst: The lie of these degenerate days, Y Born of despair, decay, and effort to escage, F Protected by a brittle shell | Of pitiful and empty faith, j, Forced ky a bad conscience. ‘THE WoMAN: He longs for goodness. Even when he does wrong, This earth has never seen paradise. SE belleve.re106 AVANT-GARDE DRAMA Lust for power; lust for pleasure! ‘That is the rhythm of the world, “THE WOMAN: I believe! ‘THE FRIEST: Earthly life is a constant chenging of forms. Mankind stays hs Salvation rests in God. ‘THE WOMAN: I believe!!! Tam cold .. . Leave me! Leave mel (The erawsT leaves the cell, An OFFICER enters.) ‘Ta OFFICER: Here’s the ser Mitigating circumstances considered. Novertheless. Crimes agains: State must be punished. ‘THE WOMAN: They ate going to shoot me? ‘THE oFFIcER: Orders are orders. Obedience, obedience, Duty as office THE WOMAN: And man? ‘THe OFFICER: All conversation forbidden. Orders are orders. TEE WOMAN: J am ready. (The OFFICER and the WOMAN go out. The cell is empty conds. Two WOMAN PRISONERS in prison smocks slip remain standing at the deor.) First PRISONER: Did you see the officer? See his lovely gold form? SECOND PRISONER: I saw the coffin. In the laundry. Yellow wooden box. (The Pirst PRISONER sees bread lying on the table and ihrows herself upor it.) FIRST PRISONER: There’s bread! Hungry! Hungry! Hungry! SECOND PRISONER: Give mel Me bread! Me bread! FIRST PRISONER: Here's 2 microt, My, Low pretty! Naked breast, silky cloth. Hide it. Evening, Cell. (From outside the sharp crack of a volley rings through i, The PRISONERS throw up outstretched, jrightened ; The FIRST PRISONER searches in her skirt for the hidden. Lays it hurriedly back on the table 1g upon her knees.) , why did we do that? Man and the Masses 107 (Her arms toss in the air with a great helplessness. The SECOND PRISONER itches the cilken cloth which she has hidden in her skirt and lays it hurriedly on the bed.) SECOND PRISONER: Sister, why did we do that? (The SECOND PRISONER bre: inher lap. The curtain jails.) is down. She buries her head