GRANNY MAUMEE
Scene: Living room in an old cabin with walls
blackened by age. Red cotton curtains and
red covers on the chairs and table. In left
corner back, an open fire smoulders in a great
rough fireplace. There is a door at back leading
out of doors. There are also doors left and
right. A bed at left covered with a white
counterpane. The room is neat and there
are many growing flowers about potted in
rude wooden boxes. Toward the right is
an iron flower stand consisting of a basin
mounted on a tripod. This stand is filled
with a mass of bright red geraniums. A
large chest against the wall at right is
covered with red. A table near centre bears
candles. Beside the table in a high-backed
chair sits Granny Maumee. She is seen
to be blind. She is black and thin, with
white hair and a face so seared by burns
that it masks her great age. Her great
granddaughter Pearl, a girl of nineteen,
is moving briskly about the room straightening
chairs and rearranging flowers.
Pearl
Seem kinder funny fer me to be fixin’ up for
Sapphie. Seem like I’m wukin’ for her by the
day. Mebbe she will tek’n hiah me now she’s
married. Seem kinder odd to be hiahed by a
blood sisteh.
Granny
Spread my fine-spun sheets on de baid.
Pearl
I got the nex’ bes’.
Granny
Fol’ um up an’ git out de fines’.
Pearl
Hit weahs um out so to wash um, an’ Sapphie
an’ that man of her’n aint used to such goodness.
An’ to muss um up des for one night!
Granny
Hit’s de night er all nights. Hit’s de boy babe
wif ’em dat I wants de fineness fer.
Pearl
That’s right, the baby. I keeps fohgittin’
hit. I’ll change’m. I’ll git the linum sheets
on an’ then I’ll lay the big covehled.
[She draws coverlid off, hauls box from under
the bed, and opening it takes out bed clothes
and remakes the bed.]
You’n me’ll have to lay in the broke baid this
night. You won’t git no rest.
Granny
No matteh, heah’s a good baid fer de babe
an’ I’ll soon git all my res’.
Pearl
I hope’s Sapphie’s husband aint too hefty, for
the th’ee might break this heah’n same as the
otheh’n is broke.
Granny
De husban’ shain’t sleep da nohow. You
c’n lay him a bunk in de wash house.
Pearl
What! You aint goin’ to leave him lay heah?
Granny
Dis baid my Sam bought fo’ me. Onliest man
kin eveh lay in hit shill be Sam’s own blood.
De babe an’ his motheh’ll lay heah dis night
erlone.
Pearl
Well, the babe’ll have plenty room and softness.
Granny
W’en my Sam wuz er babe we laid on cotton
sack. We didn’ have no baid, an’ w’en he little
shaveh he say, “Mammy, I goin’ git you nice
baid w’en I git er man.” An’ sho’ nuff, w’en
he grow up he took ’n do hit, an’ he mek pu’chus
in de attehnoon an’ de baid come nex’ day. But
at midnight betwix’ dee tuk ’n bu’nt ’im.
Pearl
Now, Granny—
Granny
In de black dahk dee come on ’im, de bloody-handed
mens, an’ wheah dee cotch ’im dah dee
bu’nt ’im, de right man settin’ de wrong man
afieh at de i’un hitchin’ pos’.
Pearl
[Going to her.] Granny Maumee, don’t leave
yo’self go that away. Don’t leave youah mine
run on.
Granny
[Rocking back and forth.] My Sam, my man
babe-um.
Pearl
Hit git you all wuk up an’ wore out. You
won’t look good to company.
Granny
Look! Has I looked fo’ fifty yeah sence I rush
in de fieh fo’ my Sam, which hit de las’ sight deze
eyes seen? Oh, whuffo’ dee drag me out an’
hilt me back? I bo’ one man an’ him dee tuk’n
bu’nt. An’ ’e slep’ right’n dis room w’en de man
wuz shot w’ich dee ’cuze ’im er! Whuffo’ dee
drag me back f’um de fieh?
Pearl
I sees the wisdom of Gawd in hit, Granny
Maumee. Fifty yeahs ergo me and Sapphie’s
granpap been burnt and yet you was to live
to git a new Sam.
Granny
W’ich ’e neveh come. Dee wuz all gals fum
dat on, you an’ yo’ sisteh Sapphie an’ yo’
mammy an’ yo’ mammy’s mammy, all down
from my breas’: all gals.
Pearl
You fuhgits what Sapphie’s fetchin’ you.
Granny
Dat I don’t, but not twell I sees ’im will Sam
be cool off in my heaht.
Pearl
Granny, you can nurse the child but course
you cain’t espect to see him.
Granny
Deze eyes shill yit behole—
Pearl
No, Granny Maumee, your eyes they’re
scorched and swiveled with the fire. But your
arms ain’t burnt, is they? An’ they shall hold
the baby! Tain’t often old person live to heft a
great-great-gran’baby.
Granny
Befo’ my las’ houah deze eyes shill look an’
see ergin. [She rises.]
Pearl
Wheah you goin’?
Granny
Has you lay out my raid gown?
Pearl
Yes, it’s all on the sofy.
Granny
Den I goes to primp up an’ mek ready to
receive.
Pearl
Yes, it’s only perlite to put on ouah best to
meet the husband.
Granny
I dresses fer none but de chile. [She goes
slowly out at left.]
Pearl
[Calling.] Betteh lay down fust, they won’t
be here for two hour yet. I’ll be there pres’n’ly.
[She continues to bestir herself about the room
and then starts to follow Granny. There is a
faint tap at the door at right. Pearl stops and
listens. The tapping is repeated. She goes
and opens the door. A young woman, looking
much like Pearl and of about the same age,
but gaudily dressed and carrying a baby,
stands in the doorway.]
Pearl
[With a half-smothered exclamation.] Sapphie!
[Sapphie motions her to be silent and softly,
fearfully enters the room.]
Sapphie
[In a low voice.] Wheah Granny Maumee?
Pearl
She in the baid-room fixin’ up. Wheah’s
youah husband?
Sapphie
[After a pause.] He—didn’—come—
Pearl
Oh, that’s too bad, but it’s good to see you,
and let’s see the baby.
Sapphie
[Drawing back with the swathed and veiled
child.] Not yet.
Pearl
Oh, he’s asleep, of course.
Sapphie
[Pointing to doorway through which Granny
passed.] Shut the door.
Pearl
[Obeying wonderingly.] Well, hit do look good
to see you ergin, Sapphie. Hit don’t seem like
er yeah now sence you lef’ home. Does youah
husband tek you to pictuh shows?
Sapphie
Puhl, what’s Granny Maumee like now, is
she failed any? Is she fie’ce as eveh ’bout the
burnin’ and the w’ite mens?
Pearl
Why, of course she is. She don’t neveh change
f’um year ter year. Come on, let’s see baby.
What youah husband’s name? You nevah sent
us wu’d what youah new name was.
Sapphie
That’s what I want to see you for before
Granny Maumee comes out. Come here. [She
lifts a veil from the child’s face.]
Pearl
[Peering eagerly forward and then starting
back.] W’ite!
Sapphie
[Breathlessly.] How’ll she take hit? What’ll
she do? I’m scared of her.
Pearl
A light-head merlatter! So youah husband
didn’t come ’cause they ain’t no husband.
Who’s the man?
Sapphie
You know wheah I work.
Pearl
Lightfoot!
Sapphie
He des would have his way.
Pearl
So, he took you off to town with him, did he,
and that’s how come you have the luck to go.
I praise King Jesus he kept me f’um such luck.
Sapphie
How’ll she take hit?
Pearl
Take hit! Does you spose we can take’n tell
her? Thank my Makeh she’s blind. It’s the
mussy of Gawd her eyes was swiveled in w’ite
man’s fire before she see the w’ite man mix with
her blood. You—
Sapphie
Oh, I don’t care what you calls me if you’ll
only help me and keep Granny Maumee off’n
me and baby.
Pearl
It’s only helpin’ to keep us all from ’struction
that I’ll keep it from her.
Sapphie
What you think she’d do if she found out?
Pearl
I don’t know. Sometimes when her mine runs
on ’bout the burnin’ she begins to go back’ards.
Sapphie
[Fearfully.] What you mean?
Pearl
You knows what I means. Away from the
love of Gawd, back to that Affykin devil stuff.
Sapphie
[Starting with a cry toward the door at back.]
Oh, she might witch me and the baby too.
Pearl
Don’t be scared. She won’t tech you ’cause
she won’t know the sinneh you been.
Sapphie
He des would have his way. [A tap is heard
outside Granny’s door.]
Pearl
She’s comin’.
[Sapphie shrinks back toward opposite side of
room as door opens and Granny enters wearing
a red dress with red apron and red silk
cap on her head. She pauses just inside and
listens intently.]
Granny
Who bin talkin’?
Pearl
Me. [She guides Granny to her chair.]
Granny
Well, talk on. How I look? [She straightens
proudly in her chair.]
Pearl
Good. The red ain’t faded none.
Granny
Dat’s good, fer I needs hit bright dis day an’
night. De babe’ll wan’ tuh see hit. Red’s de
fus’ coloh er baby notice an’ red allers goes wif
black. Red neveh go wif w’ite. Looks ghas’ly.
I use allers tuh wrop my Sam in red— [She
pauses and her voice grows shriller.] an’ red’s de
las’ way I seen ’im.
Pearl
Now, Granny—
Granny
Dat’s right, I mus’ tek my mine off er dat
sight now. But I’ll tek’n’ wrop dis noo black
babe in my red ap’un dat hilt my Sam. In red
he shill be wrop an’ black he shill shine. Royal
black we is an’ royal black we shill stay. Praise
my Makeh, dey ain’ no drop er any yutheh
coloh in ’im. All us wimens wuz hones’, all de
way down, an’ we kep’ clean er de w’ite streak.
We kep’ us clean, praise my King, an’ we will
ter de een’. W’ite blood were ’stroyin’ angel tuh
my fambly f’um de beginnin’s, but hit neveh
yit mix wif us. We wuz save f’um dat las’
pizen.
[Sapphie turns as though to go out through the
door at right with her child. Pearl motions
her through side doorway at left. She goes
out softly.]
Pearl
Hattie Lee she uz hones’ an’ her baby’s w’ite.
That w’ite man tuk’n marry her with preacheh.
Granny
Married wif preacheh! Do dat change de
trashy blood? I wudn’ have dat kinder mud
pumpin’ in er babe er my blood, not ef de
sevumty eldehs had j’ined a w’ite man tuh you
er Sapphie.
Pearl
W’ite blood no wus’n black blood.
Granny
’Tis fer us! ’Tis fer dis house er sorrer. Hit’s
bin fieh, hit’s bin death, hit’s bin de crawlin’
stream er hell fer me an’ my fambly as fur as
I knows, an’ dat’s a hunderd yeah. But I lets
all de yutheh go, ’ca’se I hates um ernuff fer
dis one thing—
[She goes to red-covered chest at right, lifts the
lid and takes out two half-charred sticks of
wood.]
Pearl
Now, Granny, put um back—
Granny
[Waving the sticks.] Deze, w’ut I snatch f’um
de fieh undeh Sam. Deze is ernuff to mek us
hate all er dat blood an’ keep hit fur f’um us.
Pearl
[Going to her and taking the sticks.] Is this heah
makin’ ready for comp’ny? Now ca’m yo’se’f.
[She lays the sticks on top of the chest.]
Granny
[Seating herself and growing suddenly very still
as though listening.] Yo’re right. Time’s up,
de houah is heah an’ de chile is neah. I feels
hit. Run an’ open de do’. Sapphie mus’ be
comin’ up de paf. Mek ready. I feel my noo
man chile neah me.
[Pearl goes out doorway at left. After a moment
she and Sapphie enter without the baby.
Granny stands up.]
Sapphie
[Going forward hesitatingly to Granny.]
Granny Maumee.
Granny
Give ’im heah in deze ahms.
Sapphie
I lay him in yutheh room. I want to see you.
Granny
Fetch ’im.
Sapphie
Aint you glad to have me back?
Granny
Fetch de babe, be swif! [Pearl motions to
Sapphie; she goes out to get the baby.]
Pearl
Her man, he couldn’t come with her.
Granny
No diffunce. I bless de man an’ wish ’im
well, he’s su’ved his puhpose, but he ain’ none
er ouah blood. De boy babe’s de chief un.
[Sapphie enters with the baby.] Give ’im heah, be
swif’.
[Sapphie hesitatingly lays the child in Granny’s
outstretched arms. As she does so a strange
reaction, like an electrical shock, seems to overtake
the old woman. She holds out the child
as though she would give it back. After a
moment, however, she presses it to her breast,
rocking back and forth and crooning to it.]
Babe, man babe-um, er noo man, er puore-blood
man raise’ up atter all dem gals. Sam
kin res’ now. ’Caze w’y— [She begins to chant.]
’caze er noo man bin raise up an’ he shill
lay hol’ er de stahs an’ th’ow um down fer
vingince. He shill be er ’stroyin’ fieh er heavum
tuh roll ergin de hell fieh w’ut dey lit fer Sam an’
quinch hit out fuheveh. De wrath er Gawd
shill be wif ’im an’ de w’ite blood shill puhvail no
more ergin ’im. De sun an’ moon shill rise no
mo’ on my house an’ fin’ on’y gals, ’caze we got
er puore-blood man fer to gyard an’ carry us on.
[From time to time during her words she has
paused and bent intently over the baby, striving
to see it.]
An’ my King’ll not keep de cuss on me now
an’ leave me go down to de grave wifouten
sight er you, my babe-um. Dese eyes shill yit
behole. [She rises with the child in her arms.]
Go on out er heah, Puhl an’ Sapphie, lemme be
alone now wif my babe. [She waves them out
imperiously.]
Pearl
Whuffo’?
Granny
I wan’s ter see dis chile befo’ I dies.
Pearl
Why, Granny Maumee, your eyes is swiveled
up with the fire. You couldn’t see.
Granny
Go. I won’ be long.
Pearl
[To Sapphie.] Come on, don’t cross her.
Sapphie
[Whispering.] I’m ’fraid—
Pearl
You know she couldn’t—— [They go out doorway
at left.]
[Granny stands staring down at the child in her
arms for some time. She then goes over to
the bed and lays the child upon it, bending
over it and striving to see. At last she turns,
goes swiftly over to the red-covered chest and
taking from its top the two charred sticks,
turns, lights them at the fireplace, comes forward
to the middle of the room and holding
the flaming faggots before her face peers
steadily at them.]
Granny
[Suddenly in a loud voice with upraised face.]
Sam—ask Gawd tuh give back my sight dis
night er all nights an’ leave me look at de noo
man w’ut bin handed down ter us. Fer we kep’
de blood puore. Ask an’ we shill receive— [In a
still louder tone, stretching upward her hands.]
Lawd, I believe.
[She suddenly sways, turns, drops the sticks on
the hearth, puts her hands before her eyes and
staggers forward. After a moment she takes
her hands from her face and looks tremblingly
about.]
Yes—he give hit back—I sees—Oh, my black
babe!
[She moves swiftly to the bed and bends over the
child. There is a moment’s pause.]
W’ut dis? Cain’ I see yit? De wrong coloh.
[She turns swiftly, seizes a white cloth from a
chair and a black one from another, holds
them up and looks at them alternately.]
W’ite—black.
[Then turning to the bed she stares again at the
child. After a moment she straightens and
reaching her hands upward she gives a cry.]
W’ite! Debbils!
[Sapphie and Pearl appear in doorway.
Granny bends over the child with clawlike
fingers raised as though she were about to
strangle it. Sapphie darts forward and
snatches the child. Granny turns and looks
at Sapphie and Pearl in turn.]
Pearl
She sees!
Sapphie
Granny Maumee, the babe’ll be ouah’n an’
we can raise him right. He’s a good baby and
don’t cry none. I don’t want live’n town. I
want to live here with you and Puhl. Baby’ll
love you. And we won’t be no trouble to keep
’caze I got money. Look—take this.
[She draws from her bosom a crumpled handful
of bills which she stuffs into Granny’s
hands.]
Granny
Wheah you git dis? [She stands immovably
staring before her.]
Sapphie
He give it to me.
Granny
[Shaking off the money onto the table.] W’ite
man money.
Sapphie
He des would have his way, but he’s good to
me and he takes care of me. He’s comin’ heah
tonight to see me.
Granny
W’ut de name?
Sapphie
Young Lightfoot.
Granny
De gran’pap er dat man tetch off de fieh w’ut
bu’n up my Sam.
Sapphie
But this’n ain’t that away, Granny Maumee.
He’s always kind.
Granny
W’en’s de man comin’?
Sapphie
He’ll be here soon and if you’ll only listen
he’ll sure talk you round.
Granny
[Pointing to the baby.] Hit wants out. Take
it out an’ come yer.
[Sapphie obeys, going through doorway at left.
Granny suddenly turns to the flower-basin
mounted on a tripod. Seizing it she empties
both flowers and earth in the fireplace,
where she refills the basin with live coals.
Then bringing it forward she replaces it upon
its tripod.]
Pearl
Granny Maumee, you’re slippin’ backwuds,
please don’t fuss with that conju’n foolishness,
they ain’t nuthin’ into hit an’ hit des keeps you
’cited.
Granny
Debbils calls out debbils.
[She goes to several places where upon the walls
are hung bunches of dried herbs. From several
of these she seizes handfuls.]
Come, my seedin’ Jimson, come, ole Rattlesnake-Marsteh,
come, my Black-Ball, w’ut Pap Jack
han’ me up.
[Sapphie reënters the room and stands watching
Granny in terror, Granny closes all the
doors to the room, then going to the red-covered
chest on the right and opening it she drags
forth several coils of blackened iron chain
which she casts upon the table. She sprinkles
a few of her handful of herbs on the fire in the
brazier. A dense smoke arises.]
Sapphie
[With a scream.] Don’t! Oh, don’t conjuh me.
Pearl
[Scornfully.] Don’t fuss, Sapphie, she won’t do
no harm. What the chains for, Granny?
Granny
Dem’s de chains w’ut bine Sam w’en dey
tuk’n bu’n ’im.
Pearl
What you worry yourself by gittin’ um out
for?
Granny
I ain’ worried no mo’. [She throws more herbs
on the fire in the brazier.] Dem chains fer de
w’ite man.
Pearl
What you mean?
Granny
[Pointing to the door at left back.] W’en de
w’ite man knock de do’ shill be open an’ dat
shill be de beginnin’ er his trials.
Pearl
What you mean?
Granny
De smoke in dis room will strankle de man’s
will in his breas’ an’ I’ll use ’im den as I choose.
Sapphie
What you goin’ do to ’im?
Granny
I goin’ lead ’im out tuh de i’un hitchin’ pos’
w’ut dey fas’en Sam ter an’ I goin’ tuh chain
’im da wif dese chains an’ I goin’ tuh bring ’im
tuh ’imself an’ den I goin’ tuh bu’n ’im lak he
gran’pappy bu’n Sam.
Sapphie
[With a scream.] You shan’t.
Pearl
You spose we leave you do hit?
[The girls start forward toward the doorway at
left back. As they near Granny she swiftly
seizes a handful of burning herbs from the
brazier and waves them smoking across the
faces of the girls under their nostrils, so that
they breathe the fumes. They take a few
steps farther, staggering, and then stand
motionless and silent. She takes them by
the hands and leads them back. The fumes
of stramonium, solanum and other herbs have
produced catalepsia. Granny goes to the
fireplace at back and from the mantel takes
a wooden bowl, a short stick and a large dry
gourd. She returns, gives the bowl and stick
to Sapphie, causing her to beat rhythmically
on the inverted bowl with the stick, a motion
which Sapphie continues in imitative hypnosis.
Granny gives the gourd to Pearl, causing
her to shake it. The gourd gives forth a dry
rattle from seeds or pebbles within it. Granny
then places the two girls on either side of the
tripod and they continue their drumming
and rattling rhythmically. She then takes
her place back of the tripod and casts more
herbs upon the fire.]
Granny
Sistehs, kin yo’ heah me speak? Answeh,
Sapphie.
Sapphie
[In a dull tone.] Yes.
Granny
Answeh, Puhl. Does yo’ heah me?
Pearl
[Also dully.] Yes.
Granny
Does yo’ see?
Both Girls
Yes.
Granny
Den watch me mek my w’ite man Lightfoot
outer Lightfoot money.
[She seizes the bunch of bills from the table and
plucking strands of hair from her head she
begins tying the money together; taking the
candle from the table she holds it over the tripod
until it is soft and then kneads it with
the money until the whole grows into the
rude semblance of a human figure. Stooping
then to the hearth she takes up the two charred
sticks of her son’s pyre and with one of these
she stabs the wax mannikin through the
breast. Holding up the impaled figure she
stands over her tripod and again speaks:]
Say dis atter me:—
By de fieh at night, by de black boy down,
The Sisters
“By the fire at night, by the black boy down,”
Granny
By de skunt-off face an’ de red on de groun’,
[The sisters repeat each line after her in unison,
keeping up their rhythm with drum and
rattle.]
By de w’ip an’ de rope an’ de chain dat swung,
By de bloody mouf an’ de bit-off tongue,
By de eat-up heaht an’ de spit-out gall,
We scream, we beg, we whoop, we squall
Tuh git poweh, tuh git stren’th tuh put de trickon um all.
[After this the remainder of Granny’s curse is
spoken by her alone. The sisters continue
their sounds with the drum and rattle.]
Let um git no res’ in bed, er good at vittals, er
hope at wu’k, er he’p at home, er peace wif fren’s
er kin, er tryin’ tuh tek pleasuah, er in any place
dey kin go er hide.
Th’ee fingeh Jack my Obi pap,
He’p me, ole Marsteh.
Keep de promise wif um all.
[She lifts the mannikin on the stick and looks
at it.]
Now, my Lightfoot, yore tu’n’s come.
Dis is Lightfoot, Ole Marsteh.
Let me slit ’im an’ bu’n ’im an’ was’e ’im an’ cut
’im an’ choke an’ weah ’im an’ teah ’im as Sam
’uz slit an’ choked an’ bu’nt an’ was’e an’ cut
an’ woah an’ toah.
[She waves the mannikin to the four points of
the compass.]
Fo’ times fo’ times fo’ times fo’,
Fly an’ call an’ open de do’.
De chains is ready, de man is neah, an’ almos’
heah an’ de chahm shill hol’.
Spile ’im as I spile ’im.
[She casts the mannikin and the sticks with
ferocity into the fire on the tripod and then
bends down staring intently into the fire.
There is a moment’s silence and then she
gives a cry, as she looks into the fire.]
Sam! Is dat you in da? You instid er he?
W’ut dis? Is we bin trick? ’Tain’t you—’tis
you—Sam! Ah-h!
[With a cry she snatches the blazing mannikin
from the brazier and folds it in her caught-up
apron, staggering and beating the air as
though battling with unseen forces. Suddenly
a gust of wind blows open the door at the
right and a breeze fills the room, blowing the
smoke and fluttering the garments of the
women. The drum and rattle cease and fall
to the floor. Immediately Granny raises her
face in awe, seeing a vision. She stretches out
her arms toward it, speaking brokenly.]
Sam! Yes, I sees yo’. I heahs yo’. Yes, my
Babe-um.—Talk on.—Tell me.—W’at!
[She pauses, listening intently, with eyes fixed on
the unseen.]
Leave ’im go!—Oh, how kin I?—Gi’ me stren’th.
[She pauses again and bows her head. After a
moment she again raises her face to the
vision.]
I knows.—I fuhgot. I’ll do hit.—I des wen’
backerds but I’m wif yo’ now.—Yas—Ez we
fuhgives uthehs—yas—I knows—we’ll do hit.—We
will be tuhgetheh.—Ez we fuhgives uthehs.
[A knocking is heard on the door back, at left of
the fireplace. Granny turns her head and
listens. After a pause the knocking begins
again more imperatively. She turns, seizes
the tripod brazier, casts it into the fireplace,
and staggers toward the door, taking her
stand beside it. The knocking pauses.]
Go back, w’ite man. Roll back, w’ite wave er de
fiery lek. Once you lit de fieh an’ bu’n me.
Once you po’ de blood an’ pizen me, but dis
time Sam an’ me we’s de stronges’ an’ we leaves
you go, we leaves you live tuh mek yore peace
wif Gawd. We’re puore bloods heah, royal
black—all but one an’ we’ll do de bes’ we kin
erbout ’im. He shill be name Sam. Go back,
w’ite man, an’ sin no mo’.
[She pauses and listens. There is no further
sound from without. Granny staggers over
to the sisters and shakes them, saying in a
faint voice:]
Wake up, Sapphie; come tuh, Puhl. [As she
does so she looks upward again and cries out:] Sam,
we done hit, an’ we stays tuhgetheh!
[She sinks down slowly to the floor. The sisters
have stirred and looked about stupidly.
Pearl now sees Granny and bends over
her.]
Pearl
[With a cry.] Ah—Granny Maumee’s dead.
[She runs terror-stricken to the door at back,
crouching beside it. Sapphie then, after
gazing intently at Granny, suddenly runs
toward the door and dragging it open rushes
out, followed by her sister.]
Both Girls
[Outside.] Granny Maumee’s dead! Granny
Maumee’s dead!
[Their voices gradually die away in the distance,
the door blows shut. The body of Granny
Maumee is left alone in the room.]
CURTAIN.
THE RIDER OF DREAMS
Scene: Night in a room used for kitchen, dining-room
and laundry by a colored family. A
lamp is set upon a central table laid with a
spotless table cloth. Baskets of clothes stand
on several chairs. At the back is a cook-stove
and to the left of this a door. There are also
doorways at the right and left of the room.
Lucy Sparrow, a worn, sweet-faced woman
of forty, is sprinkling clothes at an ironing-board
at left with her back turned to the table
beside which, on a high stool, is perched a small
boy, Booker Sparrow. Both the boy and
the woman as well as the room show a painstaking
neatness despite the disorder necessary
in the process of a professional “wash.”
Lucy
Who make you?
Booker
God. Ain’t the mush done now?
Lucy
It’s done but I ain’t done wif you. You got
to learn good befo’ you can eat good. Who redeem
you?
Booker
Christ. I’ll stop being hungry for it if I don’t
get it now.
Lucy
Bettah lose youah wishes an’ youah ahms an’
laigs an’ everything youah body’s fix wif an’
keep youah immortal soul. Who sanctify you?
Booker
The Holy Ghost. I don’t want nothing but
mush.
Lucy
Well, you ain’ goin’ to git hit twell you luhns
de questions. What de chief en’ of man?
Booker
Chief end of man is to glorify God and enjoy
himself for ever.
Lucy
[Coming swiftly forward and confronting him
with a threatening look:] Enjoy hisself! I ain’
neveh teach you dat. You know betteh’n dat.
Man got no right to enjoy hisself. He got to
enjoy Gawd. You knows dat as well as you
knows eatin’. An’ you got to say it an’ what’s
mo’ you got to live it. Now what de chief en’
of man?
Booker
Enjoy God forever.
Lucy
Dat’s mo’ like it. [She turns her back and
going to the ironing-board resumes her labours,
still talking.] I’m raisin’ you fo’ de Kingdom
an’ you’ah goin’ in de Kingdom ef pushin’ ’ll
lan’ you dere. Because dis time anutheh yeah
you may be in some lonesome graveyard.
[Singing:]
In some lonesome graveyard,
Oh, Lawd, no time to pray.
[As she sings Booker stealthily slips off his
stool and going around to the opposite side
of the table takes a spoon with which he approaches
a dish set upon a warming-shelf
fixed to the stove. He furtively dips his spoon
in the dish and begins to eat. Lucy continuing
her singing.]
Play on youah harp, little David,
Little Davy, how ole are you?
“I’m only twelve yeahs ole.”
[She turns and discovers Booker.] What! You
stealin’! I’ll show you! [She gives him a cuff
and a shake, depositing him again upon his stool.]
You shorely is on de way to de fieh but I’m
goin’ pluck you out ef it skins you alive. Steal,
will you? What de sevenf commandment?
Booker
[Sniveling.] Thou shalt not steal.
Lucy
See dat. You knows it but you des won’t live
hit. Well, I’m goin’ live it into you. I’m goin’
slap sin out of you. [She gives him another shake.]
An’ de grace into you. Now you say dat commandment
sevumty times sevun. Begin. Say
hit.
Booker
Thou shalt not steal. Thou shalt not steal—
[The door at back opens and Madison Sparrow
stands in the doorway looking on the scene
within the room. He is a tall, loose-jointed,
lazy-looking man. In one hand he carries a
long green bag.]
Madison
[After a survey of the situation.] What de boy
do?
Lucy
He steal, dat what he do.
Madison
Um. What he steal?
Lucy
Mush. I tole him not to tech it.
Madison
Well, he was hongry, weren’t he?
Lucy
Dat ain’ de p’int. Tweren’t his till I give it
to him.
Madison
[Places the bag carefully by the doorway,
throws his hat upon it, then seats himself at the
table.] Bring on dat mush. I’m tia’hd of dese
fool doin’s. Dey ain’t no git ahead wif um. Ef
de boy wants mush let him git mush.
Lucy
[Placing food before him on the table.] Yes, but
not rob it.
Madison
Who talkin’ ’bout robbin’?
Lucy
Madison, dat’s de wrong kin’ of trash fo’ dis
baby to heah. Go lay down, honey. Tek de
bowl wif you.
[Booker whines but takes a dish and goes to
doorway at Left.]
Madison
No, hit’s de right kin’ of preachin’. I’m
tia’hd of all dat ol’ fashion way of doin’. Ef
I wuz to wuk my ahms off dat ol’ fashion way
I couldn’t git no furder.
Lucy
What you bin wukin’ at dis yeah, Madison?
Madison
Dat’s it. You know dat I’m bin lookin’ fo’
it and couldn’t find hit.
Lucy
What you wuk at last yeah?
Madison
You knows I wuk in de strippin’ factory.
Lucy
Jes’ two weeks.
Madison
You knows I wuk till I strain my back. But
neveh min’ about all dat. I done tuhn oveh a
new leaf. I goin’ to be a business man. I goin’
to let de otheh man wuk.
Lucy
’Sposin’ everybody was to do dat away.
Madison
Let ’em do hit. I don’ ask nothin’ of nobody.
I goin’ to have every toof in my haid covehed
wif gol’. I’ll get youah’n an’ Book’s fix dat way
too. I goin’ to have plenty society grub in me
all de time. I ain’ goin’ to let my fam’ly suffeh.
I got too sweet a disposishun fo’ dat. I’ll git
’em whateveh I want.
Booker
[Lingering in doorway.] When you get rich
will you get you the guitar, Daddy?
[Lucy waves Booker through doorway. He
vanishes.]
Madison
I’ll git it an’ I got it. Watch me now. [He
goes over to the bag by the door and reaching in it
produces a handsome guitar.] Dat’s de beginnin’
er good times, boy.
Lucy
[With sickening apprehension.] Madison,
where you git dat insterment?
Madison
Dat’s de Lawd’s insterment, Lucy. He done
pervide it.
Lucy
Oh, Madison, dat ain’ youah’n.
Madison
’Tis now, honey.
Lucy
No, youah las’ dime you spent Sunday an’
I ain’ give you no money since. You got it
wifout payin’ for it. You charged it.
Madison
Yassah, I got it wifout payin’ for it an’ I goin’
to keep on a-gittin’ it wifout payin’ for hit as
long as de gittin’s good.
Lucy
How you like to be treat dat way?
Madison
What way?
Lucy
If you was keepin’ a store, to have folks charge
things when dey didn’ know how dey could
pay.
Madison
I’m willin’ fo’ to be treat dat way ef dey can
do hit. Let ’em come an’ git my things if dey
finds any.
Lucy
[Breaking down.] Oh, I cain’ stan’ hit.
Youah sinkin’ fas’ down to de fiery lake an’
you’s pullin’ my Baby down too.
Madison
No, I’s raisin’ him up an’ I goin’ to lan’ us all
in a sof’ place on dat Easy Street I heah ’em
singin’ ’bout so long wifout seein’.
Lucy
[Suddenly examining the guitar.] Wheah you
git dis guitar?
Madison
What guitar?
Lucy
Dis. Oh, Madison, dis is ’Zek’l Williams’
own guitar dat he wouldn’ sell. Dis is de guitar
dat nobody couldn’ buy. How you come by it?
Madison
Look heah, woman. You act like I stole de
guitar. You don’t think I’m a thief, do you?
Lucy
How you come by hit?
Madison
I got it off Wilson Byrd.
Lucy
Dat sneakin’ w’ite man. How’d he git it?
Madison
I didn’ ask him.
Lucy
What you give him fo’ hit?
Madison
Oh, dat’s anotheh story. Him an’ me’s goin’
in business togetheh.
Lucy
Oh, Madison, dat w’ite man stole dis guitar.
Oh, take it back dis minute an’ snatch youah
soul from de bu’nin’.
Madison
Who, me? What you tak me fo’, gal? Take
back a guitar to de rich man, de man what own
de very house we live in!
Lucy
Well, we soon will buy hit.
Madison
Dat’s right. We will. But dat ain’ de question.
I didn’ git dis guitar fo’ to return it, I git
it fo’ to play it. I boun’ to play it cause I’m
goin’ to be er rich man soon an’ I got to have a
plenty music in me.
Lucy
You goin’ to git rich playin’ guitar?
Madison
[Laughing comfortably.] Eh, yah, yah.
Whoopee! No indeedy. I flies higher dan
music flies. I’m one er dese heah kine er
’lectioneerin’ mens which make dere money
work fo’ um. Dey sen’s one dollah out in de
heat an’ sweats her twell she rolls home wif
anutheh.
Lucy
How you goin’ to put money out, Madison,
lessen you wuks an’ gits de money?
Madison
[Cunningly.] Oh, don’ yo’ botheh youah
haid long er dat. I bin down low and folks
trample me des same as a wu’m, but now I’m
goin’ spread my wings an’ sting ’em like a king
bee. Whaffo’ I lay dere an’ let’m trample me?
’Twere because I lack conferdence. I puts my
’pen’ance on dis promis’, I puts my ’pen’ance
on dat, an’ dey all fails me.
Lucy
You ain’t neveh put youah trus’ in Gawd.
Madison
Yassuh, I did, an’ Gawd He up an’ gimme
de go-by too. What He bin doin’ fo’ me?
Nuthin’. Now I goin’ spit on my han’s an’
whu’l in an’ trus’ myse’f. An’ I feels lots betteh.
I can feel conferdence wukin’ all oveh me. I
casts ’em all off. I’m lookin’ out fo’ myse’f.
M-m-m—It took me long time to git heah but
now I’m heah let ’em look out for me. [His
voice rises to a chant.]
M—m—m—Midnight on de sea. All de lights
out. I’m carryin’ hod on Jacob’ laddeh to
build me a new house an’ I’m buildin’ it high,
man. Don’ tech me. I’m a flame of fieh an’
I’ll singe you sho’. If dey asks fo’ me tell ’em
say, “I saw somethin’ sailin’ up but he was
headin’ fo’ a high hill on de sun an’ my eyes
failed me.” Tell ’em say, “He had de fo’ win’s
runnin’ like stallions to fetch up wif him but
dey carried ’em out, an’ buried ’em in de
valley. He bus’ dere hea’ts!” Tell ’em say,
“He was herdin’ lightnin’s like sheep an’ dey
wuz too slow an’ he picked ’em up an’ sheared
’em an’ sent ’em home.”
Dat’s me, I’m de one you’ll be talkin’ bout.
Fer why? ’Cause I cas’ off ever’thing an’ I
puts my trus’ in myself an’ nuthin’ can’t hole
me. De mo’ I says it de mo’ I feels conferdence.
I feels it a wukin’.
Lucy
You goin’ to wuk, Madison?
Madison
Yes, indeedy. I got to wuk an’ wuk ha’d.
I can’t shirk none.
Lucy
What wuk you goin’ to do?
Madison
I’m a stock brokin’ man. I goin’ into de
stock brokin’ business tomorrer.
Lucy
How?
Madison
Buyin’ an’ sellin’, dat’s how an’ which too.
Lucy
De Devil’s wrastlin’ wif you, Madison, an’
you’s perishin’ fas’. Ef you keeps on in dis paf
you’ll lan’ mongs’ de rocks er mournin’. You’s
let somebody tu’n you roun’.
Madison
Not me. Nobody can’t tu’n me roun’. I
dreamed it an’ I dreamed it right, face
fo’mos’ an’ on de run.
Lucy
How dream?
Madison
Las’ night an’ day befo’ yistiddy night an’
night befo’ dat. I wuz layin’ groanin’, “O Lawd,
how long,” an’ I heah a voice say, “Git up an’
come a-runnin’.” Looks up an’ sees a fine w’ite
saddle hoss. Hoss say,
“Ride me right an’ I’ll guide you right.”
On I gits an’ off he goes, slick as a rancid
transom car. Comes to high hill lookin’ down
on de sun an’ moon. Hoss stop an’ say,
“Brung you heah to give you noos
De worl’ is youahn to pick an’ choose.”
I ax him “How dat?” Hoss say:
“How is how an’ why is why,
Buy low an’ sell high.”
I say to him, “I got no money to buy. Wheah I
goin’ git de fun’s to buy low?” Hoss respon’:
“Trus’ yo’se’f an’ take youah own,
Git de meat an’ leave de bone,
Bus’ de nut an’ fling em de shell,
Ride an’ let em walk a spell,
Findeh’s keepeh’s, loseh’s weepeh’s,
I hope dese few lines find you well.”
I ax him who tole him all dis an’ hoss say:
“Ole hoss Grab will nevah balk,
All dis heah is w’ite man talk.”
Dat what de hoss say to me in my true dream
ev’y night dis week an’ I’m a-goin’ to bide by
hit twell de las’ er pea time. ’Cause I’m er true
dreameh an’ my mammy she wuz befo’ me.
Lucy
What come of de hoss in de dream, Madison?
Madison
Dat’s all. Hoss went up in smoke an’ I come
down in bed.
Lucy
Hoss went up in smoke! No, hit went down
in smoke an’ fiah.
Madison
Now look-a heah, woman. I’m goin’ to make
you a good livin’ f’um now on. I’m goin’ into
business termorrer. I’m goin’ in de specalatin’
wu’k. I’m goin’ to buy low an’ sell high.
Lucy
What kin you buy wif? You got no money.
Madison
[Hesitating but collecting his forces gradually.]
Oh, ain’t I tell you ’bout dat? I got it in de
dream.
Lucy
In de dream?
Madison
Um Hmmm. You know dat hoss I tole you
’bout. Well’m, jes’ fo’ we pa’ted he prance up
th’ough a starry fiel’ an’ come to a gyarden
fence. Oveh dat fence he lep an’, man, she was a
fine gyarden. “Whose patch dish yer?” I say
to him. Hoss say:
“If you asks me grab what you see.”
Den he reaches down an’ pulls up a tu’nip
wif his teef an’ gives it to me an’ say,
“Dis gyarden truck will fetch you luck.”
[He watches Lucy furtively.] An’ I takes an’
sta’ts to peel dis tu’nip an’ what does I find? I
finds she’s a fine fat roll er bills, dem tu’nip tops
is greenbacks.
Lucy
So youah money is dream money?
Madison
Well, no, not ezackly. De hoss whispeh
sumpin in my eah an’ told me how to make
dat dream money real money. An’ I took de
hint an’ done it today. An’ on dat money I’ll
buy low an’ gouge ’em all good.
Lucy
How much you got?
Madison
Well’m— [He hesitates.] I got a little an’ den
some. I got erbout—fifty er so.
Lucy
Wheah you git it? [She catches hold of him.]
Madison
Tu’n me loose, woman. I goin’ to baid. I
got to make early sta’t. [He pulls off his coat.]
Lucy
[Wildly.] I ain’ goin’ to let you stay in sin.
[She snatches the coat from him.] I goin’ take dis
money an’ make you say wheah you got it.
[She begins hastily searching through the
pockets of the coat.]
Madison
[Calmly regarding her with great good humour
and breaking into a laugh as she fails in her
search.] Eh, yah, yah, sea’ch an’ look, sea’ch an’
look.
Lucy
Oh, Madison, ain’ yo’ got no honin’ ter be
hones’ at all?
Madison
Hones’! What kin’ er fool talk is dat? I
done got my ear-string bus’ now an’ dem
preachah wu’ds can’t fool me no mo’. You’ll
neveh fin’ it, honey. ’Cause why? ’Cause I’m
got it in my pants an’ I goin’ to keep it f’um
a foolish woman.
Lucy
[Running to him desperately.] You got to give
it to me.
Madison
Gal, ef you don’ tu’n me loose I’ll git ugly.
Now, look heah. I wants to heah de las’ er dis.
I got new ideahs. I got big plots en plans. I
done give you de plankses in my flatfo’m an’
I’m a-goin’ to stan’ on hit. When I makes a
lot mo’ money in de broker business I’m a-goin’
to give you all de gold youah ap’un’ll hold, ev’y
day er youah life, an’ you won’ have to wait long.
But till dat day an’ to dat time I’m de treasu’eh
er dis lodge an’ I’m de stake holdeh er dis race
an’ dat money stays in de pu’se in de hip er my
ol’ jeanses.
[He says this last slowly and with growing emphasis
and as he ends, gives himself a resounding
thwack on the hip over his pocket. There
is a moment’s pause. He puts his hand
hurriedly in the pocket and then dazedly into
one on the other hip.]
What dis? Wheah dat roll?
Lucy
[Fearfully.] I ain’ tech it. You know I ain’
bin neah you.
Madison
[Rushing to her.] Gimme de coat.
[He snatches the coat and begins going through
the pockets, from time to time searching and
slapping the garments he is wearing.]
Didn’t you git it? You mus’ er tuk it.
Lucy
No, Madison, I ain’ see nor tech it. You
watched me.
Madison
Oh, Lawd, he’p me look.
[He begins to run around the room, looking
on the table, picking up articles and letting
them fall, dropping on his knees and hunting
under the table and chairs. As he searches
he grows more frantic.]
Oh, my Lawd, Oh, wheah is it? I got to have
it. Oh, I couldn’ lose it, hit ain’ mine ter lose.
Stay by me, Lucy, an’ he’p me fin’ it, git down
on youah knees, Lucy. Oh, wheah did I drop
it? I’m gittin’ old an’ needs it. Ef I lose dis
I lose all my push. I was jes’ goin’ into business
an’ we all wuz goin’ to fly high. I got to
fin’ it. I ain’ give up. Lemme think. Oh, I
hopes some hones’ puhson foun’ it. Lemme
come on down—Know I put it on dat side
’cause dat de side Mistah Long he wuz on—Oh,
I’ll go crazy— [He strikes his forehead groaning.]
Lucy
[Starting.] Mistah Long! He’s cashiah in
de Dime Savin’s! How he give you money?
Madison
Oh, lemme see—he gimme de money an’ I
put it right in yere. [He fumbles again distractedly
in his pocket.]
Lucy
[Pursuing him desperately.] Onliest money
at de Dime Savin’s is de money. You couldn’t
draw hit out. You didn’ do dat,—you couldn’—Tell
me if you did fo’ I’ll fin’ it out tomorrer—Oh,
tell me true—you couldn’ when it’s in my
name—tell me now fo’ I’ll find it out.
Madison
Oh, I can’t stand it.
Lucy
Ef you wan’ me to he’p you den be free wif
me. How you draw money from de Bank? I
give you no papeh. You couldn’ draw de money.
Madison
Wilson Byrd, he gimme de papeh.
Lucy
I give him no papeh.
Madison
He write it fo’ you.
Lucy
Oh, Gawd, dat w’ite man write my name.
You drawed de money—I see it now. You had
dealin’s wif a fo’geh, Wilson Byrd.
Madison
Spar’ me an’ he’p me. He tol’ me ef I draw
de money he’d take me into business wif him
an’ gimme de guitar besides.
Lucy
Did you spar’ me? Fifty dollahs! You said
fifty, didn’ you? How could you do hit?
More’n six months’ ha’d slavin’. Six months
mo’ befo’ I can resto’ it back. I could a bought
de house tomorrer mo’nin’ an’ now hit’s six
months off to pay in dat fifty. It was fifty,
didn’ you say? Maybe ’twuzn’ dat much.
Tell me right. I’ll fin’ it out tomorrer.
Madison
Dis yere’ll kill me ef I can’t think.
Lucy
How much you draw? Tell me right. Look
at me. Were hit fifty? [She holds his eye.]
Less? Mo’? How much? [She continues to
hold his lustreless eyes, reading them.] A hunde’d?
Two hunde’d? Eight hunde’d? [A pause ensues
as she reads the truth in his face.] All of hit!
[She sinks in a chair.] Twelve yeahs’ labour
sence I married you an’ termorrer I wuz goin’
to mek de payment an’ we’d a bin undeh owah
own roof. I’m done. I could a paid off pa’t,
mebbe fifty, but I won’ las’ twelve yeahs mo’
at de same thing. But I thank Thee, Lawd, dat
it wuz stole f’um us all ef hit had to be stole.
Madison
Ef I could on’y think. Had hit in de bank—felt
hit an’ had it on Thu’d Street—slapped hit
an’ had it at Joe’s house—slapped hit an’ had
it comin’ up de alley—jes’ fo’ I clum de hill—lemme
see—clum de hill—went in th’oo Wilson
Byrd’s hedge fence—he gimme de guitar—scrape
my back comin’ out— [His face shows
gradual recollection, and suddenly brightens.]
I knows now! Dat’s hit! In dat white man’s
yard wheah he gimme de guitar! I wuz jes’
goin’ to give him de money when somebody
grabbed him f’um behin’. He give a squawk
an’ skeered me. I run out th’oo his hedge fence
an’ scrape my back. I scrape de pocketbook
out. She’s dere! In dat Wilson Byrd’s yard.
I’ll git it yit. Watch me. [He grabs his hat and
runs excitedly toward the door.]
Lucy
[Rushing toward him.] No, sumpin’ might
happen. You might git mix up wif him ergin.
Lemme go, but I mus’ resto’ dis guitar at Uncle
Williams, as I go by his house. I’ll slip it
on his porch. Maybe he’ll neveh know it wuz
gone. Oh, if somebody had seen it heah! How
could I have stood it?
[She puts on a shawl and takes up the bag but as
she lays her hand on the door-knob a loud
knock is heard on the door. Both start back
and wait. The knocking is repeated. She
throws off the shawl, places the bag in a
corner and returning to the door, opens it.
She greets the visitor in a strained voice,
almost with a shriek.]
Uncle Williams! Step in, please.
[A man enters. The newcomer is old, with
white hair and beard. He is probably of
Moorish descent. He is so small and weazened
as to be almost a dwarf, but his whole
demeanor indicates great latent power. A
strong personality, dominating the two others
from the first instant.]
Williams
Good evenin’, Lucy.
[He seems to be unaware of the presence of
Madison. He comes forward with little
mincing steps and an old man’s gesture, then
takes off his hat and sees about him. The
others stand watching him, transfixed.]
Ain’ you goin’ shut de do’, Lucy? I feels draf’s.
I’m gittin’ old an’ catches cold easy. Ain’ you
goin’ take my hat? [She reaches for it mechanically,
watching him apprehensively.] No, de
hat—not de stick—ol’ pu’son like me always
need good stout stick er club case er havin’
faintin’ spell—sumpin’ to lean on. Now, wheah
a cheer, bettah fetch me er cheer fo’ feah I might
set on sumpin’ you wouldn’ choose fo’ me.
[She obeys dumbly and brings a chair to him.]
Set it neareh. Dat’s right. Now gimme youah
shouldeh an’ ease me down. Ah— [He leans
heavily on her and sinks totteringly into the chair
with a great show of feebleness.] Now take a
cheer yo’se’f. I ’spize to see a lady standin’ an’
me takin’ my res’, old ez I is. [She obeys, watching
him with doubt and dread.] Set it dah, wheah
I can see you good. [Madison is standing up
by the wall, right, gazing at him as though paralyzed
with fear.] Dah now. We kin be ca’m and have
a nice talk. Does you know what business I
come yere fo’ tonight? [He pauses.] You does,
doesn’t you?
Lucy
[Almost beside herself with nervous tension.]
You—come to see—ef— [Recovering herself with
a mighty effort.] Oh, yes, you come to look
oveh de stove an’ see ef you like to buy
hit.
Williams
[Musingly.] M-m. Well, I reckon—dat’s hit.
Yes, dey tells me y’all has a wahmin’ stove to
sell an’ now katydid cease, fros’ ain’ fur off, an’
I needs hit. Is dish yere de one?
Lucy
[Rising and rushing toward door at side.] No,
not dat. Hit’s outside—ef you please to step
out.
Williams
Well’m, I’ll take’n look her oveh. [She
hastily lights a candle as he rises and totters in the
wrong direction.]
Lucy
Th’oo heah, th’oo heah. De stove’s out in de
woodshed. [She grasps and guides him.]
Williams
Ah—well’m. Um hm. I always gives things
er good lookin’ oveh befo’ takin’ stock in ’m.
You needn’ come erlong. I lived so long in dis
house befo’ you wuz bawn dat I knows my way.
Is de stove an easy wood eateh?
Lucy
Yes, yes.
[She gives him the candle and almost pushes him
through doorway at side as she follows him out.
Madison, who has watched fearfully from a
dark corner, darts forward and looks after
them, listening. He then runs toward the door
at back but hesitates before it and turns as
Lucy comes swiftly in from outer room,
closing the door softly.]
Madison
What he say? Do he know?
Lucy
[Desperately seizing the bag and pressing it
into his hands as she turns him again toward
doorway at back.] Oh, I cain’ tell. On’y resto’
dis in case he don’ know er case he do. Now’s
de one chance to be hones’.
Madison
Huh. What erbout dat eight hunderd dollah?
Lucy
I don’ know. Trus’ Gawd an’ be hones’.
Madison
Huh uh. One of us has got to go look fo’ dat
money.
Lucy
One of us has got to take back de guitar.
Madison
I’m goin’ fo’ de money.
Lucy
Den I’ll take dis. [She takes up the guitar
and she and Madison go toward door at back.
Then she halts.] Oh, Madison, you can do bofe.
One of us has got to stay wif Uncle Williams.
But take back de guitar first.
Madison
All right. I’ll go. An’ I ain’t played on dis
heah but twice. [He takes the guitar from her.]
Lucy
Go now. Can you fin’ youah way to his porch
in de dahk?
Madison
Will we find de money? Dat’s de p’oblem I
wants de answeh fo’.
[Lucy opens door at back to go out. Madison
is at her side. Both start back. Williams
stands before them in the open doorway.]
Lucy
[Haltingly, after a pause.] How—you like—de
stove?
Williams
[Entering more vigorously than before.] Well’m,
befo’ we goes any furder we betteh come
neareh de real p’int an’ question. I didn’ come
fo’ no stove dis night. [Madison shrinks back
into the shadows.]
Lucy
[Slowly.] Yo’—don’—wan’—
Williams
No’m. To be sho’, I might tek de stove one
er dese days, but dat ain’ my erran’ now. Hit’s
dis; does you know when we mek de bargum
about you buyin’ dis heah house?
Lucy
Twelve yeah ago.
Williams
Gal, you dreamin’! ’Tweren’t but las’ year.
’Twere de fus’ er Octobah las’ year an’ I say I
gives you de refusals fer one yeah. ’Membeh
dat?
Lucy
Yassuh.
Williams
So fur so good. Now does you know what
day de month dis is?
Lucy
Fus’ er Octobah.
Williams
Dat’s true as preachin’. Well’m, time’s up.
Lucy
What you mean?
Williams
I’m er man er my wuhd. Pay me de money
an’ tek de house.
Lucy
Termorrer—
Williams
No. Termorrer won’ do.
Lucy
Why you push me so? Oh, please spar’ me
an’ wait—wait anutheh day.
Williams
No, I’m er business man. I kin sell de house
fer mo’ money termorrer but I hold’s to my
wuhd ter sell it to you. I holds to it an’ loses
money, but it falls due dis day an’ night an’
I won’ stretch it one jump er my hea’t.
Lucy
You know—de bank—ain’t open—
Williams
Sign de check fer hit. You kin do dat, cain’t
you?
Lucy
I—s’pose—I—kin.
Williams
Den up an’ do hit. Heah’s er check, all wrote
out but de signin’. [She takes the check he produces.]
An’ heah’s one er dese fountum pins.
[She takes the pen.] Octobeh fus’—pay to
Zek’l Williams—eight hunderd dollahs. Des
write “Lucy Sparrow.” [She mechanically
turns to do so.] Looks easy, sho’. But de law
allows hit; dis writin’ out money. [He pauses,
then adds impressively.] Dat is, ef you got de
money in de bank. Co’se ef de money ain’ dah
an’ you writes de check fer hit de law puts you
in State prism. [She stops and stares at him.]
[The pen falls from her hand and the check flutters
to the floor.] What de matteh? You wants de
house, don’ you? [Lucy’s head sinks.] An’ you
got de money, ain’ you?
Madison
Dat’s de question. [He comes forward out of
the shadow.]
Williams
[Seemingly observing Madison for the first
time during the evening.] Why, heighyo, Madison.
I bin lookin’ fer you dis very evenin’.
Whah you bin?
Madison
Bin home.
Williams
Sho’ly not, Madison, sho’ly not all evenin’?
Has you?
Madison
Yes.
Williams
Well, ain’ dat de whu’lygig? I wuz lookin’
fer you at Pratt’s sto’ at eight o’clock an’ dey
say you jes’ lef’ dah. You wuz dah, weren’t you?
Madison
No, suh.
Williams
Well, dere I am fool agin. An’ who you think
done fool me?
Madison
Dunno.
Williams
Well, suh, ’tweren’t no one but— [He pauses
a moment.] Wilson Byrd.
Lucy
Byrd! [Springing to her feet with the shock.]
Williams
[After watching the two a moment.] So you
ain’ got de money no mo’, is you? [They are
speechless before him.] I knows you ain’ ’ca’se
I knows who has got hit.
Madison
[Involuntarily.] Who?
Williams
I has. [He observes them and then chuckles
softly.] I has de money an’ de bargum’s closed,
fer de goods is bin delivered an’ dey’re right in
dis room in dat corner. One guitar at eight
hunderd dollahs. Insterments comes higher’n
what dey did once but you would have it an’ now
you got it an’ everybody’s fixed.
Madison
[Groaning and bending over the table.] Oh!
Williams
Yassuh, de man what buys guitars at dat
price su’tinly plays on de golden strings. Eight
hunderd fer one guitar makes ’m mighty near
twenty thousand dollehs er dozen. De cos’
er livin’ is shore gone up but ef you mus’ you
mus’.
Madison
Oh!
Williams
Well, I cain’ stay heah, I got er be amblin’
on. I much erblige ter you to mek youah plans
to move out er heah fo’ I got ter sell de house
befo’ sundown. Well, so long, an’ I hopes you
gits all de good er youah high price music. [He
turns again with his feeble old man’s step toward
the doorway, putting on his hat.] I wish y’all good
evenin’.
Madison
[Moving toward him with the threatening determination
of despair.] Say, I’ve got to have dat
money. I sees red. I’m gone bad an’ I’ll kill
befo’ I’ll lose hit.
[Williams suddenly turns with a swiftness and
agility astounding in so old a man. Starting
forward he confronts Madison with such
dominance and fire that he seems suddenly to
tower.]
Williams
You kill me! You tek money away from me!
Why, you po’ grain er chaff, you don’ know me.
I’m a king in my own right. I got ways an’
means er pertecktin’ myse’f dat you don’ even
dream on an’ I don’ need to lay a fingeh on you
to do hit. Furdermo’ I could brain you wif
dis stick but ef you cross me I won’ be dat easy
on you. Ef you don’ wan’ wuss’n dat don’ cross
me no furder er youah troubles’ll begin fer fa’r.
Lucy
Oh, please don’ lay nothin’ on him.
Williams
You po’ sufferin’ gal, I won’ lay nothin’ onto
’im but I’m a-goin’ to tek sumpin’ off’n you. I’m
goin’ tek de burding er dish yere pack er laziness
off’n you. An’ fus’ I wants ter show you dish
yere piece er papeh. [He produces a folded document
and opens it.] Does yo’ know who wrote
it? Answeh me. [He shoves the paper under
Madison’s eye.]
Madison
It looks like dat Wilson Byrd’s writin’.
Williams
Yassuh, an’ what’s mo’ it is dat man’s writin’.
It’s his confession dat he fo’ge Lucy Sparrow’s
name. I saw dat man steal my guitar an’
follered him home. Dah I grabbed him, dah I
foun’ de purse wif Lucy’s name inside an’ dah I
made dat thief write out his confession.
Knowed so much of his meanness already dat
he had to do hit. An’ now I owns you. Does
you undehstan’ dat? Answeh me.
Madison
Yas suh, no suh.
Williams
Well, I’ll take’n cl’ar up de myst’ry fer you.
I got dis confession outer Byrd an’ I got other
things ter prove hit an’ I kin bring him an’ you
too, bofe befo’ de gran’ jury.
Lucy
Oh, my sweet Jesus, save him. [The old man
stands watching the two before him for some time
in silence. Lucy falls on her knees before him.]
Oh, don’t sen’ Madison to de lawyers.
Williams
No, Lucy, I ain’ wishful ter.
Lucy
You won’t?
Williams
Mebbe not. But fus’, les’ put all dis talk aside
dat I bin talkin’ up to now. I bin puttin’ on an’
pretendin’ in ordeh ter try you bofe an’ sif’
de chaff from de grain in you. I des bin playin’
wif you ter see how good you is an’ how ornry
dish yere man er youahn is. Yit I’ll take an’ give
him er chance even so, an’ I’ll pluck him f’um
de bu’nin’ ef he follers de paf I p’ints out ter him.
But we all got ter have cl’ar unde’stan’in’ ’bout
dat. Fus’ an’ fo’mos’ youah money is all safe wif
me. De house is youah’n.
Lucy
You means you sell it fer de money.
Williams
In co’se. You didn’t speck I’d steal too, like
a w’ite man, did you? I’ll fetch you de deeds
fo’ hit fus’ thing in de mo’nin’.
Lucy
Oh, fu’give me, I was all mix up. But you
won’ sen’ Madison to de gran’ jury neitheh?
Williams
I say I ain’ honin’ ter.
Lucy
Oh, my Makeh, I thank Thee fo’ Thy mercy.
Williams
But I shorely goin’ to put dis man er youah’n
th’oo er tes’ ter see whetheh he’s fitten ter keep
out er jail. Madison, will you tek er tes’?
Madison
[Humbly.] Yassuh. What is it?
Williams
A guitar.
Madison
A guitar!
Williams
Yassuh, dat’s hit, no mo’ ner no less. I’m
goin’ give you dat guitar—but—dere’s suhtinly
goin’ to be a string tied to it. You kin
take dat guitar but you got to make somethin’
outer yourself wif her or back she’ll come to
me. You kin give lessons an’ learn folks music
or you kin write down de music you make, but
you got to do somethin’ wif it fer Lucy. You
got to wake up or I’ll take de guitar. Which’ll
it be? Make youah choice.
Madison
[Crushed.] I’ll—keep de guitar.
Williams
An’ dat ain’ all. You got ter quit runnin’
wif Byrd an’ Byrd wif you, you got ter be a
better husban’ an’ you got to min’ everything
Lucy tells you. Will you do hit?
Madison
Yassuh.
Williams
An’ yo’ ain’ much of er temp’unce man
neitheh, is you, Madison?
Madison
I’s a temp’unce man but I ain’ no frantic.
Williams
Well, suh, you got ter jine de frantics now.
No dram drinking at all. Will you quit hit er
go ter jail?
Madison
I’ll quit.
Williams
Well, dat’s on’y a promise but I’ll shore hol’
you to hit er put you behin’ de bahs. Why, look
heah, man, does you know how you stan’ ’pon
top er dis yu’th? Does you know how you
liken to er tree? ’Sposin’ sumpin’ wif er cool
eye like er tree could see you an’ talk. I cain’
jedge you ca’m but er tree could. Tree would
look at you an’ say, “Does dat ’ere man wu’k?”
Win’ ’ud whispeh, “No.” “Do he eat?”
“Yas ’n git fat,” respon’ de win’. “Who shines
on him?” “His wife,” win’ say. “Do he put
fo’th flower an’ bless de wife?” say de tree.
“No.” “Do he give shade an’ shelteh ter de
wife?” say de tree. “No.” “Well, chop’m
down an’ bu’n him befo’ he rots,” say de tree.
“Dat’s all.” But mebbe I kin mek mo’ of him
dan dat an’ so I’ll try prunin’ him an’ graftin’
some good labeh onto him. An’ I kin’ er think
hit’ll save him yit. Well’m, I must be er goin’
now. Hit’s late an’ I mus’ git my res’ fer I
got to do a lot er bossin’ termorrer an dat’s allers
ha’d fer me. Lucy, I’ll fetch you de deeds ter
de house befo’ nine termorrer an’, Madison, you
kin repo’t to me at eight o’clock sha’p an’ give
my little boy a lesson on de guitar. You’ll be
dah, won’t you?
Madison
[Meekly.] Yassuh.
Williams
Ready to whu’l in an’ scratch.
Madison
Yassuh.
Williams
Well den, les’ all shek han’s on de noo nes’ an’
de noo aig. [They shake hands. He puts on his
hat and turns to the door.] An’ dat remin’s me,
Lucy, you better tell Madison to play on dat
guitar a plenty tonight because he’ll need music
fer to stan’ up undeh all de lessons I’m goin’
to lay onto him. Well, I wish you good night.
I’m er gittin’ kin’er ole an’ I cain’ stay up late
no mo’ without bein’ crosser in de mornin’.
Good night den an’ far’ you well bofe. Eight
o’clock, Madison. Good night.
[He goes, closing the door after him. The pair
stand silent for a moment, Madison with
hanging head and in deep dejection.]
Lucy
[Throwing her arms around him.] Oh, my
husban’, I’ll pray fer you. Don’ sorrer now.
Git youah res’ tonight. We kin be hones’ now.
We’ve got de house at las’ an heah’s de guitar.
Madison
Yassuh, heah’s de guitar. [He plays it and
fondles it. Then his face assumes again its melancholy
look.]
Lucy
What’s de trouble?
Madison
I don’ undehstan’ dis worl’. If I wants to
make music why cain’t folks lemme alone to
make music? If I dream a fine dream why is it
I always wake up? Looks to me like somebody’s
always tryin’ to crowd me out an’ git me in a
tight place.
Lucy
You wuz doin’ all right till you got mix up
wif dat white man an’ his tricks. De trouble
wuz dat dis dream of youahs wuzn’t a good
dream.
Madison
Yes, but not all of my dreams is bad ones.
All, I wants is room to dream my good dreams
an’ make my own music.
CURTAIN
SIMON THE CYRENIAN — PERSONS OF THE PLAY — The following pages contain advertisements of other Macmillan plays. — THE PLAYS OF SIR RABINDRANATH TAGORE — The Cycle of Spring : A Play — Chitra : A Play in One Act — The King of the Dark Chamber — The Post Office — DRAMAS BY LEWIS V. LEDOUX — Yzdra : A Tragedy in Three Acts — The Story of Eleusis — The Canterbury Pilgrims : A Comedy — Three Short Plays — Van Zorn: A Comedy in Three Acts — The Porcupine: A Drama in Three Acts
And as they led him away they laid hold upon
one Simon, a Cyrenian, ... and on him they
laid the cross that he might bear it after Jesus.
Luke 23, 26.
- Procula, the wife of Pilate
- Drusus, a young Roman
- Acte, Princess of Egypt
- Battus, a Libyan prince, a boy
- Simon
- Pilate, governor of Judea
- Barabbas, an insurrectionist
- The Mocker with the Scourge
- The Mocker with the Scarlet Robe
- The Mocker with the Crown of Thorns
- A Centurion
- Longinus, a soldier
- Procula’s Attendants
- Acte’s Attendants
- Soldiers
Time—The day of the Crucifixion of Jesus of Nazareth
Scene: A garden of Pilate’s house at Jerusalem.
The whole scene is strictly Roman, softened
by its eastern location and by the beginnings
of Rome’s decadence, but there is no trace of
Judean influence. At the back there is a
gallery or raised portico reaching entirely
across the garden. It is roofed but open and
beyond it the morning sky is seen. This
passageway, which will be called the portico,
leads from the Praetorium on the left to other
buildings on the right. The garden has entrances
toward the back at both left and right.
At the left, near the front, a narrow portion
of the façade of Pilate’s house is seen, with
a doorway reached by three steps. At the
right of the garden, near the front, there is
a wall fountain. There is a marble seat at
back centre. All the architecture is of mellow
marble as dark as alabaster.
[As the curtain rises Procula is discovered
upon the steps of her house. She is in an
extreme state of agitation. Her attendants
are in the garden. The sound of a mob,
with cries of “Crucify him,” “To the Place of
the Skull,” “On to Golgotha,” etc. is heard at
the rise of the curtain and at intervals throughout
the play.]
Procula
Go! Go, send more messengers. Ah, Hera,
help me.
[A Messenger runs into the garden from the
right and kneels before her, breathless.]
Procula
Has Simon the Cyrenian been found?
Messenger
The swiftest horseman reached him. He is
nearing the city.
Procula
Hasten him. Bring him. Your freedom for
it. [The Messenger hurries out.]
Procula
[To Attendants.] Is there no news yet?
Attendant
One messenger has not returned. He who was
sent to the royal woman of Egypt.
Procula
Send others after him, take wings. [Drusus
enters the garden from the left.] Drusus! Help
me draw him swiftly.
Drusus
The wife of Pilate speaks. Whom shall I send
to her?
Procula
Too late, too late. I speak foolishly. I have
already sent.
Drusus
You are tormented.
Procula
Are mine the only eyes that see the doom
unrolling?
Drusus
You speak strangely.
Procula
The Furies whip me.
Drusus
Tell me your secret.
Procula
This Jesus the Nazarene—
Drusus
You need not fear him. He is in Pilate’s
hands.
Procula
Out of that is my agony. Ah, my dream.
Drusus
Dreams?—
Procula
Did you feel the earth heave last night?
Drusus
I was drinking at Herod’s palace.
Procula
Trees groaned, the statues shuddered, the
fountains dried, the walls sweated, a red dew
fell in the gardens.
Drusus
I felt nothing. I saw nothing.
Procula
I saw—I cannot tell it. Horror was heaped
on horror.
Drusus
You dreamed of this Nazarene?
Procula
Of him. He must not die. I begged his life
of Pilate but he fears the Jews. Help me.
Drusus
Help you? How?
Procula
Bring Simon the Cyrenian.
Drusus
That tiger?
Procula
I heard many voices in my dream and one
voice cried, “Simon the African shall bear the
burden.”
Drusus
You have not felt his claws.
Procula
Then you too believe him dangerous?
Drusus
The most dangerous man in the empire.
Procula
Dangerous to Romans, it may be, but—
Drusus
[Scornfully.] The friend of slaves! Wherever
he goes insurrection follows him. He was the
secret leader of last year’s armed uprising in
Rome when thirty thousand perished. He
hollows out the empire with sedition.
Procula
A stronger man than Rome.
Drusus
His influence spreads through the provinces.
He plans world empire, undermining Rome.
Cæsar has been warned of him, but is afraid
or listless.
Procula
[Half to herself.] Surely such power should
avail to save one life.
Drusus
There is a rumour that he was here two nights
ago to renew the insurrection of Barabbas. We
had spies set upon him.
Procula
Does he fear spies? I have sent for this man.
If the Nazarene is condemned Simon must
kindle riot and take him from the soldiers.
Drusus
Will the wife of Pilate breed rebellion to
Rome?
Procula
It is for Rome’s sake and in my extremity.
What singing is that? I heard it in my dream.
[During the last few speeches a marching song
by men’s and women’s voices is heard off left,
at first faintly then, growing louder; the words
are indistinguishable.]
Drusus
The air is African.
Procula
May it be Simon.
Drusus
[Looking off left.] A litter with Ethiopian
bearers.
Procula
Ethiopians! It is the Egyptian. [Drusus
starts to go off right.]
Procula
Though I sent for her I fear her. Stay with
me.
Drusus
I cannot. I bear word from Pilate to Herod.
[He goes off right. A Herald in Egyptian dress
enters from left.]
The Herald
Acte of Egypt to the wife of Pilate.
[The voices off left are heard approaching and
singing the tune that today is known as the
Negro spiritual “Walk Together, Children.”
Acte enters from left walking with her litter-bearers
and women. With her is Battus, a
boy of ten.]
Acte
The wife of Pilate sent to me?
Procula
For Simon the Cyrenian. Men say you are
his friend.
Acte
I have come here to find him.
Procula
He is not here.
Acte
If his mood holds he will not fail to come since
you have sent for him. Your men have told me
that he nears the city.
Procula
Oh, help me rouse him when he comes.
Acte
What is your need?
Procula
A hidden service.
Acte
You ask my aid? Then trust me.
Procula
[Coming down close to Acte and speaking in a
low voice.] Jesus the Nazarene must not die.
Acte
Has he been doomed?
Procula
Not yet. But if—
Acte
Are you not Pilate’s wife?
Procula
He fears the Jews.
Acte
And Simon?
Procula
If Jesus is condemned Simon must seize him.
Acte
Never.
Procula
It must be done. I beg you help me.
Acte
This Nazarene has no friend in me.
Procula
And you have never seen him.
Acte
No, but I suffer much because of him.
Procula
And I. Jesus must live. Oh, move Simon to
strike.
Acte
More lives than this magician’s wait on
Simon. [An Attendant of Procula enters from
left.]
Attendant
[Calling.] Pilate has gone up toward the
Judgment Hall.
Procula
Beg him to stay for me, for one word more.
I’ll follow. [Attendant goes out left. To Acte.]
Command my household, wait here for Simon.
[Seizing Acte and pointing toward the Judgment
Hall.] In there and at this hour the fate of earth
and heaven dangles in the hands of blind men.
Tell Simon this, see that his eyes are open.
[Procula hastens into her house. During
Procula’s words one of Acte’s Attendants,
who has strayed off right has reëntered, looking
off.]
Attendant
Lord Simon rushes toward this place.
Acte
Make ready all.
[Her tire-women attend her and her men stand
looking expectantly off right. Simon enters
from right. He is a Negro of majestic
bearing, with a sad, severe countenance. He
is dressed as a soldier.]
Simon
Egypt!
Battus
[Rushing joyfully toward Simon.] Simon,
Simon.
Simon
Battus, Royal Battus. [He embraces the boy.]
Battus
You have been long away.
Simon
Not so long as to have forgotten Battus.
Battus
And have you forgotten Cyrene and Egypt
and our kingdom of the free? [Acte hushes the
boy, looking apprehensively about.]
Simon
No, Battus.
Acte
[To her Attendants.] Take the boy deeper in
the garden. Wait there till I call him. [The
Attendants lead Battus off left.]
Acte
[Moving swiftly to Simon.] You are in danger
here. What sorcery called you back?
Simon
Where is the wife of Pilate?
Acte
She is asleep—or she listens to the harp.
Simon
Why are you here?
Acte
I came to meet you. Why did you return?
Simon
Messengers from the wife of Pilate reached
me.
Acte
What spell is on you, you who were never
trapped? This is the wolf’s own mouth. You
tempt it to close upon you.
Simon
The tiger’s blood is never lapped by wolves.
Acte
Many can pull down one. Go back.
Simon
When is the Nazarene to be tried by Pilate?
Acte
So, I have found the hunter that has snared
you.
Simon
When is he to be tried?
Acte
Who knows? Tomorrow. Perhaps never.
Simon
Today, the message said.
Acte
Perhaps this afternoon. Oh, Simon, wake.
Shake off this net of dreams. How were you
taken in it?
Simon
I am not taken.
Acte
You have seen this Nazarene?
Simon
I saw him.
Acte
When?
Simon
Two nights ago.
Acte
After you left me.
Simon
Afterward. I had summoned to a garden
The bravest of the slaves to help them plan
A new sedition that would free Barabbas.
There as I roused the jungles against Rome
I saw lights in another part of the garden,
I saw men come with torches and seize a man.
I hurried near and through the olive leaves
His eyes looked into mine,
His eyes burned into mine. I have seen them since,
Waking or sleeping.
Acte
Simon
No, and none saw me. I turned back through
the shadows and joined my men.
Acte
And did you plot again that night?
Simon
My thoughts went wide. My words were broken.
I told the slaves to wait till my next coming.
Then, before dawn, I set out for the sea.
Acte
Oh, my Cyrenian, where is that fierce blood
That poured out from your heart fires to burn Rome?
Simon
My spirit is fiercer than it was before,
The groans of the oppressed louder than ever.
Acte
Then why have you turned back?
Simon
I have seen the whole world’s sorrow in one man’s eyes.
Acte
What does it mean? You are changed.
Simon
There as I looked upon him in the garden
A wound came in my side like a spear’s thrust,
Bleeding for him.
Acte
Is this all you know of him?
Simon
As I went seaward
I met men coming to the yearly feast.
These told me of his works, they spoke of marvels,
Of healings and of resurrections.
He suffers the old wrong of the downtrodden.
Acte
Are there no wrongs then in our Africa?
Simon
The whole earth groans beneath the persecuted;
The outcast, the despised cry out to me.
Acte
And you whom they trust to save them turn aside
To this one man.
Simon
I have not turned aside, yet I may help him.
Acte
Go back. Your peril grows. You will be trapped.
Simon
Acte
It is not Rome I fear but this Judean.
Simon
[Moving toward the doorway of Pilate’s house.]
Why does the wife of Pilate stay,
Having summoned me with horsemen?
Acte
[Going with him.] Doubtless she forgets.
Her whims are many.
Simon
I must hear from her
What they have done with him.
Acte
[Placing herself before him.] Simon!
Mists are before your eyes,
Mists of forgetting.
You have forgotten Battus and all your holy
vows before the priests of Libya and Egypt to
bring him back to Africa Rome’s conqueror.
[She calls off left to Battus. The Attendants
enter with him.]
Come, lad, sit here. [She leads him to a seat
at centre.] Let’s play at worlds for Simon. Who
are you?
Battus
Acte
Battus
Son of Cyrenian kings and kings of Egypt,
Son of all Africa.
Acte
Battus
Acte
Who shall lead them up to victory?
Battus
Acte
Battus
They shall be free. All wrongs shall be righted.
The great shall be brought low, the lowly raised.
Acte
How shall we reach our own?
Battus
Acte
Battus
All those who suffer wrongs, the poor, the captives.
Acte
[To Simon.] What do you say, now you have
heard the faith he lives by?
Simon
Oh, I have not forgotten. We shall go forward.
Acte
To triumph.
Simon
Yes, to triumph.
Acte
Through fire and blood.
Simon
Through fire and blood.
Acte
Ah, I have never doubted the fierce heart in
you. Never be tamed.
[Procula appears in her doorway. Acte sees
her and moves apprehensively aside. Procula
sees Simon.]
Procula
You are the Libyan captain?
[Acte waves Battus and her attendants off left.]
Simon
The wife of Pilate sees him.
Procula
[Going swiftly to him.] You have seen Jesus
the Nazarene?
Simon
I have seen him.
Procula
Save him.
Simon
When is he to be tried?
Procula
He has been tried.
Simon
[To Acte.] Who has deceived me? [To Procula.]
Has he been condemned?
Procula
Not yet, not yet.
Simon
Your husband holds him.
Procula
I have no power in this.
Simon
You sent for me.
Procula
Save this one man. I know your power.
Acte
Remember Cyrene, Egypt and our world,
Battus and Africa.
Simon
Their roots are in my heart.
Acte
Then come away with me.
Simon
My breast can nourish both this Judean and
our kingdom.
Acte
No, for this man’s spirit threatens to overcome
you; they have called him king; there cannot
be two kings, and you the lesser, in the
world we plan.
Simon
Not that he is a king but that he is a captive
my heart flows most to him.
Acte
Legions of captives in the empire wait for you
to set them free. Shall you yourself be captive?
Procula
He was betrayed.
Acte
[To Simon.] Look to it that you are not yourself
betrayed by him.
Procula
Herod mocked him.
Acte
[To Simon.] If you are now led astray you
mock our Africa and the new world we plan
there.
Simon
Plan no more worlds if this man is destroyed.
But he shall conquer Pilate.
Procula
Save him. Waken the mob. Breed riot.
Take him from the soldiers.
[She suddenly looks upward off left back and
gives a cry.]
Pilate ascends to the outer judgment seat.
Burn the city if he is condemned.
[Simon stands brooding motionless. Procula
runs toward her doorway.]
I’ll send to Pilate even on the judgment seat.
[She rushes into her house. Simon moves after
her as though he would follow.]
Acte
[Recalling him by a touch so that he turns.] The
time is not yet ripe. A new sedition now suddenly
bursting would dash down all our dreams.
Simon
Pilate at last will listen. With such a pleader
the Sufferer is safe.
Acte
You are taken in this soothsayer’s mesh.
Simon
He has not spoken to me.
Acte
Has he not led you?
Simon
He leads me most who suffers most injustice.
Acte
And on that night when you were first led captive
The lonely lions and the Libyan moon
Watched over Africa, faithful to her,
When you grew faithless.
Simon
Africa shall triumph. This man, not I, not
Battus, shall restore her.
Acte
If Pilate pleases.
Simon
He shall conquer Pilate.
Acte
Shall he indeed?
Simon
What’s there?
[A loud murmur of many voices has been heard
at intervals in the Praetorium at left back
during the past scene. This murmur has
now increased into a roar out of which the
cry “Crucify him! Crucify him!” rises. The
cries and the roar suddenly become triumphant
as Simon listens. Then from the
entrance at right there appears a fantastic
impish figure bearing a great scourge. He is
followed by another bearing a gorgeous scarlet
robe and by a third bearing upon a cushion a
crown of thorns.]
Simon
What are these?
The Mocker with the Scourge
A scourge for a prophet.
The Mocker with the Crown of Thorns
A crown of thorns for a king.
The Mocker with the Scarlet Robe
A scarlet robe for a saviour.
[The mockers cross the garden and disappear at
left back. Simon watches them motionless
and transfixed by their sinister meaning as
it begins to dawn upon him. Pilate appears
in the upper portico at back left. He enters
walking slowly backward and looking off
left with evident horror. A wailing is heard
off left, it grows and Procula enters from
her doorway.]
Procula
Woe, woe, the air is bleeding, the doom has
fallen.
O Pilate, you have judged a world and
doomed it.
Your hands are bloody; wash them again,
wash them.
[Pilate glances at her and then motions, looking
off to the left. A slave appears with him on
the portico bearing a basin of water. Pilate
washes his hands and then goes off left.]
Procula
[Going to Simon who stands motionless.] What
will you do now, now that he is condemned?
[A man enters slowly from the right. He halts
just within the garden seeing Simon. The
newcomer is gaunt and haggard.]
Simon
[Suddenly seeing him.] Barabbas! [Running
to Acte.] Look to the lad, lead him to safety.
We’ll fire the city. Hide with him till I join
you. The temple shall be in flames before
they lead the Nazarene past it. [Acte leading
Battus and her people hurries out left. Simon
rushes to Barabbas, speaking swiftly.] Go
where the arms are stored. Give the slaves
weapons and torches. Rouse all, arm all, stand
by me to free the Nazarene. I’ll lead his friends.
Bring the slaves quickly. Strike, give all the
signal. [Barabbas stands motionless.] Go.
Barabbas
[In a dull monotonous voice.] All’s done, all’s one, whether men live or die.
Who can withstand Rome? They tortured me.
My spirit is broken. I have been all night
Watching this one that would have saved the world
Scourged with me in the prison.
He is a god but men have conquered him.
They freed me in his place, the dead for the living.
There are no more gods left now in the sky
And on the earth nothing but dead men crawling.
Simon
You stay? You hang back?
Barabbas
My spirit is poisoned. I die soon.
Simon
Then die for the living.
Barabbas
There are none left alive.
[As he speaks the tops of three crosses and three
Roman standards are seen against the sky
at back, beyond the portico, as they are borne
slowly in procession from left to right. As
they pass, the wailing of women’s voices is
heard interspersed with the angry murmur of
a crowd and cries of “Crucify him!”]
Barabbas
[Pointing to the crosses.] There goes the cross now for the god to hang on,
That’s the dead tree to bear the dead world’s fruit.
Simon
So we must stand alone. They yell for blood.
Now they shall drown in a red sea of it.
He shall pass over safely, walking on dead men.
[He draws his sword and rushes off right.
Barabbas stands unmoved. Procula runs
to right entrance staring off after Simon.]
Procula
The gods fight with you now, invisible shapes
Rush forward with you. See how cloud-like armies
Redden the air. Lead them and seize him.
[There is a pause, then she retreats slowly from
the entrance, and Simon re-enters stepping
slowly backward as though dazzled by a vision.
As he reaches the middle of the garden a
wonderful voice is heard proceeding from the
direction in which he looks.]
The Voice
Put up the sword. For they that take the
sword shall perish with the sword. [The sword
falls from Simon’s hand.]
The Voice
Do not resist evil.
[There is a moment’s pause and then a Centurion
enters from the right and goes menacingly
up to Simon.]
The Centurion
Who are you that you rush against legionaries?
Have you an army that you come against
us? Are you a madman? Are you also one of
his followers?
Simon
[Slowly.] I am his follower. [Procula, wailing,
rushes into her house.]
The Centurion
[Turning and calling to someone off right.] Ho,
Longinus, come; here is another. [To Simon.]
What is your name and place?
Simon
Simon, a man of Cyrene.
[Longinus enters from the right accompanied
by several other legionaries.]
Longinus
[To the Centurion.] The Nazarene has
fallen. The cross crushes him. He can go no
further.
The Centurion
Here’s one to bear it, bring it in the garden.
[Longinus goes out right. The Centurion
and legionaries surround Simon and strip
him of his outer garments. When they have
done so the Mocker with the Scourge enters
from the right waving the scourge threateningly,
looking off as he enters. He turns and
dances about Simon.]
The Mocker with the Scourge
Prophesy, prophesy. Who is it now that
strikes you? Turn the other cheek.
[The mocker strikes Simon. With a powerful
movement Simon seizes the mocker, hurls him
to the ground and snatching his sword which
the soldiers have placed upon a bench he clears
a space about him and starts again toward
the right entrance.]
The Voice
Overcome evil with good. Forgive your
enemy.
[Simon bows his head, then extends the hilt of
his sword to a soldier who takes it and strikes
him with the flat of the blade. Simon submits,
dumbly, with bowed head, to this and
to the Mocker with the Scourge who
rises painfully from the ground and again
strikes him viciously.]
The Mocker with the Scourge
Turn the other cheek.
[He takes a rope from his girdle and making a
noose in it puts the noose over Simon’s head
and dances about him holding the rope’s end.
The Mocker with the Robe enters from
the right.]
The Mocker with the Robe
Here is the scarlet robe, it fell from the King’s
shoulders, Jesus of Nazareth, the King of the
Jews. Of such are the Kingdom of Heaven.
[He places the robe on Simon.]
Hail to the new king, Simon of Cyrene,
King of the Africans, with his Master’s robe.
[The wailing of women outside has risen in a
strain of wild and profound melancholy. It is
broken by a woman’s scream.]
The Voice
Daughters of Jerusalem, weep not for me,
but weep for yourselves and for your children.
For if they do these things in a green tree what
shall be done in the dry?
[The Mocker with the Crown of Thorns
enters from right.]
The Mocker with the Crown of Thorns
Ho, another king, another saviour. Solomon
in all his glory was not arrayed like one of these.
Let him be crowned. Blessed are the meek.
[He snatches off Simon’s head-dress, throwing
it on the ground. He pretends to place the
thorn crown on Simon’s head, and then
throws it contemptuously at his feet. The
legionaries enter with the cross.]
The Voice
If any man will come after me let him take
up the cross and follow me.
[The legionaries place the cross upon Simon.
He bends beneath it and picking up the crown
of thorns places it upon his head.]
Simon
I will wear this, I will bear this till he comes
into his own.
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