LEOAID^
AjNDREYEV
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GIFT OF
JEROME B. LANPFEELP
THE SORROWS OF BELGIUM
THE MACMILLAN COMPANY
MEW YORK • BOSTON ' CHICAGO • DALLAS
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MACMILLAN & CO., Limited
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THE MACMILLAN CO. OF CANADA, Lm
TORONTO
THE
SORROWS OF BELGIUM
A PLAY IN SIX SCENES
BY
LEONID ANDREYEV
AUTHORIZED TRANSLATION BY
HERMAN BERNSTEIN
%SS^^^^
Uf^
THE MACMILLAN COMPANY
1915
AU rights reserved
Copyright, iqis
By HERMAN BERNSTEIN
Copyright, iqiSi
By the MACMILLAN COMPANY
Set up and electrotyped. Published June, igis.
^^^^ /^*wv^
/S.
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INTRODUCTION ^ ^ ^^
Leonid Andreyev, the great Russian writer,
whose "Anathema," "The Seven Who Were
Hanged," "The Life of Man" and "Red Laugh-
ter" have attracted universal attention, has now
written the story of the sorrows of the Belgian
people. He delineates the tragedy of Belgium
as reflected in the home of the foremost Belgian
poet and thinker — regarded as the conscience of
the Belgian nation.
Leonid Andreyev feels deeply and keenly for
the oppressed and weaker nationalities. He has
depicted the victims of this war with profound
sympathy, — the Belgians, and in another literary
masterpiece he analyzed the sufferings of the
Jews in Russia as a result of this war. He de-
scribed vividly the sense of shame of the Russian
people on account of the Russian official anti-
Jewish policies.
In both these works Leonid Andreyev holds
German militarism and German influences re-
vi INTRODUCTION
sponsible for the wrongs committed against smaller
nationalities.
In his treatise on the tragedy of the Jews in
Russia, he writes of "Russian barbarians'' and
"German barbarians'' as follows:
"If for the Jews themselves the Pale of Settle-
ment, the per cent norm and other restrictions
were a fatal fact, which distorted all their life,
it has been for me, a Russian, something like a
hunch on my back, a monstrous growth, which
I received I know not when and under what con-
ditions. But wherever I may go and whatever I
may do the hunch is always with me; it has dis-
turbed my sleep at night, and in my waking hours,
in the presence of people, it has filled me with a
sensation of confusion and shame. . . .
"It is necessary for all to understand that the
end of Jewish sufferings is the beginning of our
self-respect, without which Russia cannot live.
The dark days of the war will pass and the ' Ger-
man barbarians' of today will once more become
cultured Germans whose voice will again be heard
throughout the world. And it is essential that
neither their voice nor any other voice should call
us loudly ^Russian barbarians.'"
INTRODUCTION vii
Aside from its literary and dramatic value, if
this volume on the sorrows of Belgium will tend
to arouse a little more sympathy for the sufferings
of the victims of the war, or if it will help to call
forth in the minds of the people a stronger abhor-
rence of the horrors of war, it will have served an
important and worthy purpose.
Herman Bernstein.
May 25, 191 5.
THE SORROWS OF BELGIUM
CHARACTERS
Count Clairmont.
Emit Grelieu — A Famous Belgian Author.
Jeanne — His Wife.
Pierre ) „ .
[Their sons.
Maunce J
Lagard — Member of the Cabinet.
General — Adjutant to Count Clairmont.
Insane Girl.
Franqois — Gardener.
Henrietta ) ^ ,. , ^
[ Grelieu s Servants.
Stmna J
Commander of the German Armies in Belgium.
Von Blumenfeld.
Von Ritzau
Von Stein [Officers.
Von Schauss
Kloetz — Military Engineer.
Zigler — Telegraphist.
Greitzer.
German Officer.
Belgian Peasant,
Doctor Langloi.
A Chauffeur — A Belgian.
THE SORROWS OF BELGIUM
SCENE I
The action takes place in Belgium^ at the beginning of the
war of igi4. The scene represents a garden near the
villa of the famous Belgian author. Emit Grelieu.
Beyond the tops of low trees, beyond the stone fence
which divides Grelieu's estate from the neighboring
gardens, are seen the outlines of the red roofs of the
houses in the small town, of the Town Hall, and of an
ancient church. There the people already know about
the war; there the church bells are ringing uneasily,
while in the garden there is still peace. A small,
splendidly kept flower garden; beautiful and fra-
grant flowers; shrubbery in bloom; a nook of a hot-
house. The glass covers are half open. The sun is
shining softly; there is in the air the bluish mist of a
warm and quiet day, and all colors seem tenderly
soft; only in the foreground the colors of the flowers
stand out in sharp relief.
Franqois is sitting and clipping roses at one of the flower
beds. He is an old and deaf, stern Belgian, with
long, gray hair. He holds in his mouth an earthen
pipe. Franqois is working. He does not hear the
2 THE SORROWS OF BELGIUM [Scene i
tolling of the bells. He is alone in the garden, and
it seems to him that all is calm and quiet.
But something fills him with faint alarm. He hears an in-
distinct call. He looks around — hut sees no one. He
hums to himself a song without words. Suddenly he
stops, straightens himself, holding the scissors in his
hands, and looks around again.
Francois
Who has called me?
He sees no one. He looks at the hothouse — it seems to him
that some one is calling him from there.
I hear you, Monsieur Emil, I am here.
He sees no one. He frowns and cries angrily.
Who is calling me? No one here.
He looks at the sky, then at the flowers, and resumes his work
quietly.
They say I am deaf. But I heard some one calling
me twice : " Fran^iois ! '' "Francois ! '' No, perhaps
it is my blood, making a noise in my ears.
Silence. But his uneasiness does not subside; he listens
again.
I can still hear some one calling me: "Francois!"
Very well; here is Francois, and if anyone needs
Scene i] THE SORROWS OF BELGIUM 3
me he may call me again. I shall not run. I can't
hear the chirping of the birds; the birds have
long since become silent for me. What nonsense —
these birds! Very well, I am deaf — does any-
one think I am going to cry over it?
Twitches his mouth into a smile.
And my eyes? That is another matter. My eyes!
Why are you forever silent, Francois? Why should
I speak if I do not hear your foolish answer? It
is all nonsense — to talk and to listen. I can see
more than you can hear.
Laughs.
Yes, I see this. This does not talk either, but bend
down to it and you will learn more than Solomon
ever knew. ^ That is what the Bible says — Solomon.
To you the earth is noise and prattle, while to me
it is like i a Madonna in colors upon a picture.
Like a Madonna in colors.
The hell is ringing. In the distance a youthful voice calls
''Papa!'' ''Papa!'' Then, "Franqoisl" Maurice,
Emit Grelieu's younger son, a youth of about 17, ap-
pears, coming quickly from the house. He calls
Franqois once more, hut Franqois does not hear.
Finally he shouts right next to his ear.
4 THE SORROWS OF BELGIUM [Scene i
Maurice
Francois, what is the matter with you? I am call-
ing you. I am calling you. Haven't you seen
papa?
Francois
Calmly, without turning around.
Did you call me, Maurice? I heard your call long
ago.
Maurice
You heard me, but did not respond. How ob-
stinate you are! Haven't you seen papa? I am
looking for him everywhere. Quick! Where is
papa?
Francois
Papa?
Maurice
Shouts.
Where is papa? Haven't you seen him? Silvina
says he went to the hothouse. Do you hear?
FRANfOIS
He is not there. I spoke to Monsieur this morning,
but since then I have not seen him. No.
Scene i] THE SORROWS OF BELGIUM 5
Mauiuce
What is to be done? How they are tolling! Fran-
$:ois, what is to be done — do you hear them tolling?
FRANgOIS
Ah! I hear. Will you take some roses, my boy?
Maurice
You don't understand anything — ^you are beyond
endurance! They are running in the streets, they
are all running there, and papa is not here. I
will run over there, too, at once. Perhaps he is
there. What a day!
FRANfOIS
Who is running?
Maurice
You don't understand anything!
Shouts.
They have entered Belgiimi!
FRAN501S
Who has entered Belgium?
6 THE SORROWS OF BELGIUM [Scene i
Maurice
They — the Prussians. Can't you understand?
It's war! War! Imagine what will happen.
Pierre will have to go, and so will I go. I will not
stay here under any circumstances.
Francois
Straightening himself, dropping the scissors.
War? What nonsense, my boy! Who has entered
Belgium?
Maurice
They — the Prussians. Pierre will go now, and I
will go — I will not stay away under any circum-
stances, understand? What will become of Bel-
gium now? — it is hard to conceive it. They en-
tered Belgium yesterday — do you understand —
what scoundrels!
In the distance, along the narrow streets of the town, an
uneasy sound of footsteps and wheels is growing rap-
idly. Distinct voices and outcries blend into a dull,
suppressed, ominous noise, full of alarm. The tolling,
as though tired, now subsides, now turns almost to
a shriek. Franqois tries vainly to hear something.
Then he takes up the scissors again angrily.
Scene i] THE SORROWS OF BELGIUM 7
Maurice
Francois!
FRANgois
Sternly.
That's all nonsense! What are you prating, my
boy? There is no war — that is impossible.
Maurice
You are a foolish old man, yourself! They have
entered Belgium — do you understand — they are
here already.
Francois
That's not true.
Maurice
Why isn't it true?
FRANfOIS
Because that is impossible. The newspapers print
nonsense, and they have all gone mad. Fools, and
nothing more — ^madmen. What Prussians? Young
man, you have no right to make sport of me like
this.
Maurice
But listen —
Francois
Prussians! What Prussians? I don't know any
Prussians, and I don't want to know them.
8 THE SORROWS OF BELGIUM [Scene i
Maurice
But understand, old man, they are already bom-
barding Liege!
FRANgois
No!
Maurice
They have killed many people. What a strange
man you are! Don't you hear the tolling of the
bells? The people are on the square. They are
all running. The women are crying. What is
that?
Francois
Angrily.
You are stepping on the flower bed. Get off!
Maurice
Don't bother me! Why are they shouting so
loudly? Something has happened there.
The sound of a trumpet is heard in the distance. The shout-
ing of the crowd is growing ever louder. Sounds of
the Belgian hymn are heard faintly. Suddenly an
ominous silence follows the noise^ and then the lone
sound of the tolling hells.
Maurice
Now they are quiet. . . . What does it mean?
Scene i] THE SORROWS OF BELGIUM 9
Francois
Nonsense, nonsense!
Infuriated,
You are stepping on the flower bed again. Get
off! You have all lost your reason! Go, go! The
Prussians! . . .
Maurice
You have lost your reason!
Francois
I am seventy years old, and you tell me about the
Prussians. Go!
Again the shouting of the crowd is heard. Silvinaj the cham-
bermaid, runs out of the house and calls: ^^ Monsieur
Mauricel"
SiLVINA
Please, come into the house. Madame Jeanne is
caUing you. Madame is going away. Please,
come.
Maurice
And papa?
SiLVINA
He isn^t here yet. Come!
Both move away, Franqois sits down at the flower bed im-
patiently.
lo THE SORROWS OF BELGIUM [Scene i
Maurice
You don't understand, Silvina. He does not be-
lieve that there is a war.
Silvina
It is very dreadful, Monsieur Maurice. I am
afraid —
They go out. Franqois looks after them angrily, adjusts his
aprofij and prepares to resume his work.
Francois
Madmen! I am seventy years old. I am seventy
years old, and they want me to beUeve a story
about Prussians. Nonsense, they are crazy!
Prussians! But it is true that I don't hear any-
thing.
Rising, he listens attentively.
No, not a sound. Or do I hear something? Oh,
the devil take it! I can't hear a sound. Im-
possible! No, no, impossible! But what is that?
How could I beUeve that in this cahn sky — ^in this
calm sky —
The din of battle is growing. Franqois listens again and
hears it. He grows thoughtful. His eyes express
fright. He looks as though he had suddenly solved a
Scene i] THE SORROWS OF BELGIUM ii
terrible problem. He moves to and fro, his head bent
down, as though trying to catch the sounds. Sud-
denly he throws down the scissors. He is seized with
a feeling of terror. He raises his hands.
I hear it. No. No. Now I don't hear a sound.
Oh, God, give me the power to hear!
He tries again to catch the fleeting sounds, his head bent,
his neck outstretched. His hair is disheveled. His
eyes stare. Suddenly, by a great effort, he hears
the tolling of the bells and voices full of despair. He
retreats and raises his hands again.
My God! They are toUing! They are crying!
War! What war? What war? Eh, who is there —
who is shouting "War!"?
The sound of the bells and the cries grows louder. Emil
Grelieu appears, walking quickly in the alley,
Emil Grelieu
What are you shouting, Frangois? Where is
Maurice? No one is in the house.
Francois
Is it war?
Emil Grelieu
Yes, yes, it is war. The Prussians have entered
Belgium. But you don't hear anything.
12 THE SORROWS OF BELGIUM [Scene i
Francois
Painfully trying to catch the sounds.
I hear, I hear; are they killing?
Emil Grelieu
Yes, they are killing. The Prussians have entered
Belgium. Where is Maurice?
FRANgOIS
But, Monsieur Emil — ^but, Monsieur, what Prus-
sians? Pardon me; I am seventy years old, and I
lost my sense of hearing long ago.
Weeps.
Is it really a war?
Emil Grelieu
Yes, it is a real war. I can't understand it either.
But the fighting has already commenced. I can't
realize it myself, but it is war, old man.
FRANgOIS
Tell me. Monsieur. Tell me about it. I believe
you as I believe God. Tell me. I can hear you.
Are they killing?
Scene i] THE SORROWS OF BELGIUM 13
Emil Greleeu
It is war! What horror, Francois. It is very hard
to understand it — ^yes, very hard.
Frowns and rubs his high, pale forehead nervottsly,
Francois
Bent, weeps, his head shaking.
And the flowers? Our flowers?
Emil Grelieu
Absentmindedly.
Our flowers? Don^t cry, Francois — ah, what is
that?
The tolling of the bells subsides. The crying and the shotUing
of the crowd changes, into a harmonious volume of
sound — somebody is hailed in the distance. An
important announcement seems to have been made
there.
Emil Grelieu
Absentmindedly.
Our people are expecting the King there — ^he is
on his way to Liege ! Yes, yes —
Silence. Suddenly there is a sound like the crash of thunder.
Then it changes into a song — the crowd is singing the
Belgian hymn.
Curtain
SCENE II
The reception hall in Emil Grelieu's villa. Plenty of air,
light, and flowers. Large, open windows overlooking
the garden in bloom. One small window is almost
entirely covered with the leaves of vines.
In the room are Emil Grelieu and his elder son, Pierre, a
handsome, pale, and frail-looking young man. He is
dressed in military uniform. They pace up and down
the room slowly. It is evident that Pierre is anxious
to walk faster, hut out of respect for his father he
slackens his pace.
Emil Grelieu
How many kilometers?
Pierre
Twenty-five or thirty kilometers to Tirlemont —
and here —
Emil Grelieu
Seventy-four or five —
Pierre
Seventy-five — ^yes, about a hxmdred kilometers.
It's not far, father.
14
Scene n] THE SORROWS OF BELGIUM 15
Emil Grelieu
Not far. It seemed to me that I heard camionad-
ing. I heard it last night.
Pierre
No, it's hardly possible.
Emil Grelieu
Yes, I was mistaken. But the rays of the search-
lights could be seen. They must be very powerful
searchlights. Mamma saw them too.
Pierre
Really? You are suffering from insomnia again,
father?
Emil Grelieu
I sleep well. A hundred kilometers — a hundred
kilometers—
Silence. Pierre looks at his father attentively,
Pierre
Father!
Emil Grelieu
Well? It's too early for you, Pierre — ^you have
three hours yet before your train starts. I am
watching the time.
i6 THE SORROWS OF BELGIUM [Scene n
Pierre
I know, father. No, I am thinking of something
else — . Father, tell me, have you still any hopes?
Silence.
I am hesitating, I feel somewhat embarrassed to
speak to you — ^you are so much wiser, so far above
me, father. . . . Yes, yes, it's nonsense, of course,
but that which I have learned in the army during
these days gives me very little hope. They are
coming in such a compact mass of people, of iron,
machines, arms and horses, that there is no possi-
bility of stopping them. It seems to me that
seismographs must indicate the place over which
they pass — they press the ground with such force.
And we are so few in ntunber!
Emil Grelieu
Yes, we are very few in number.
Pierre
Very, very few, father! Dreadfully few! Even
if we were invulnerable and deathless, even if we
kept killing them off day and night, day and night,
we would drop from fatigue and exhaustion before
we stopped them. But we are mortal — and they
Scene ii] THE SORROWS OF BELGIUM 17
have terrible guns, father! You are silent? You
are thinking of our Maurice — I have caused you
pain?
Emil Grelieu
There is little of the human in their movements.
Do not think of Maurice — he will live. A himian
being has a face, Pierre. Every human being has
his own face, but they have no faces. When I try
to picture them to myself, I see only the lights,
projectors, automobiles — those terrible gims —
and something walking, walking. And those
vulgar mustaches of Wilhelm — ^but that is a mask,
an immobile mask, which has stood over Europe
for a quarter of a century — what is behind it?
Those vulgar mustaches — and suddenly so much
misery, so much bloodshed and destruction! It
is a mask!
Pierre
Almost to himself.
If there were only not so many of them, not so
many — . Father, I beheve that Maurice will
live. He is a lucky boy. But what does mamma
think about it?
Emil Grelieu
What mamma thinks?
i8 THE SORROWS OF BELGIUM [Scene n
Enter Franqois. Sternly, without looking at anyone, he
waters the flowers.
And what does he think? Look at him.
Pierre
He can hardly hear anything. Francois!
Emil Grelieu
I don't know whether he hears anything or not.
But there was a time when he did hear. He is
silent, Pierre, and he furiously denies war. He
denies it by work — ^he works alone in the garden
as if nothing had happened. Our house is full of
refugees. Mamma and everyone else in the house
are busy, feeding them, washing the children —
mamma is washing them — ^but he does not seem to
notice anything. He denies war! Now he is
bursting from anxiety to hear or guess what we
are saying, but do you see the expression of his
face? If you start to talk to him he will go away.
Pierre
Frangois!
Emel Grelieu
Don't bother him. He wants to be crafty. Per-
haps he hears us. You ask me what mother is
Scene ii] THE SORROWS OF BELGIUM 19
thinking of. Do I know? Who can tell? You see
that she is not here, and yet these are your last
hours at home. Yes, in this house — I am speaking
of the house. She is young and resolute as ever,
she walks just as lightly and is just as clear-headed,
but she is not here. She is simply not here, Pierre.
Pierre
Is she concealing something?
Emil Grelieu
No, she is not concealing anything, but she has
gone into the depths of her own self, where all is
silence and mystery. She is living through her
motherhood again, from the very beginning — do
you understand? when you and Maurice were
not yet bom — ^but in this she is crafty, Uke Fran-
cois. Sometimes I see clearly that she is suffering
unbearably, that she is terrified by the war — .
But she smiles in answer and then I see some-
thing else — I see how there has suddenly awak-
ened in her the prehistoric woman — the woman
who handed her husband the fighting club — .
Wait, the soldiers are coming again!
Military music is heard in the distance, nearing.
20 THE SORROWS OF BELGIUM [Scene n
Pierre
Yes, according to the assignment, it is the Ninth
Regiment.
Emil Grelieu
Let us hear it, Pierre. I hear this music several
times a day. There it starts on the right, and there
it dies down. Always there.
They listen.
But they are brave fellows!
Pierre
Yes.
Both listen attentively at the window. Frangois looks at
them askance and tries in vain to hear. The music
begins to die out,
Emil Grelieu
Walking away from the window.
Yesterday they played the "Marseillaise." But
they are brave fellows!
Emil Grelieu' s wife enters quickly.
Jeanne
Do you hear it? How beautiful! Even our refu-
gees smiled when they heard it. Emil, I have
Scene n] THE SORROWS OF BELGIUM 21
brought you some telegrams, here. I have read
them.
Emil Grelieu
What is it? Let me have them!
Reading the telegrams^ he staggers to an armchair and sinks
into it. He turns pale.
Pierre
What is it, father?
Emil Grelieu
Read!
Pierre reads it over the shoulder of his father. The woman
looks at them with an enigmatical expression upon
her face. She sits calmly y her beautiful head thrown
back. Emil Grelieu rises quickly , and both he and his
son start to pace the room in opposite directions,
Pierre
Do you see?
Emil Grelieu
Yes.
Pierre
Do you see?
Emil Grelieu
Yes! Yes!
22 THE SORROWS OF BELGIUM [Scene n
Jeanne
As though indifferently.
Emil, was that an interesting library which they
have destroyed? I don't know.
Emil Grelieu
Yes, very. But what are you asking me, Jeanne?
How can you speak?
Jeanne
Oh, I speak only of those books! Tell me, were
there many books there?
Emil Grelieu
Yes, many, many!
Jeanne
And they Ve burned them?
She hums softly in afresh, strong voice.
"Only the halo of the arts crowns law, liberty,
and the King! — ^Law — "
Emil Grelieu
Books, books.
Jeanne
And there was also a Cathedral there. Oh, I re-
Scene ii] THE SORROWS OF BELGIUM 23
member it! Isn't it true, Emil, that it was a beau-
tiful structure?
Hums.
"Law, liberty, and the King — "
Pierre
Father!
Emil Grelieu
What?
He walks up and down the room.
Jeanne
Pierre, it will soon be time for you to leave. 1*11
give you something to eat at once. Pierre, do
you think it is true that they are killing women
and children? I don't know.
Pierre
It is true, mother.
Emil Grelleu
How can you say it, Jeanne? You don't know?
Jeanne
I say this on account of the children. Yes, there
they write that they are killing children, so they
24 THE SORROWS OF BELGIUM [Scene ii
write there. And all this was crowded upon that
little slip of paper — ^and the children, as well as
the fire —
Rises quickly and walks away, humming,
Emil Grelieu
Where are you going, Jeanne?
Jeanne
Nowhere in particular. Francois, do you hear?
They are murdering our women and children.
Frangois! Francois!
Without turning around, Franqois walks out, his shoulders
bent. All look after him. Jeanne goes to the other
door with a strange half-smile.
Pierre
Mamma!
Jeanne
I will return directly.
Emil Grelieu
What shall I call them? What can I call them?
My dear Pierre, my boy, what shall I call them?
Pierre
You are greatly agitated, father.
Scene ii] THE SORROWS OF BELGIUM 25
Emil Grelieu
I have always thought, I have always been con-
vinced that words were at my command, but here
I stand before this monstrous, inexplicable — I
don't know, I don't know what to call them. My
heart is crying out, I hear its voice, but the word!
Pierre, you are a student, you are young, your
words are direct and pure — Pierre, find the word!
Pierre
You want me to find it, father? Yes, I was a
student, and I knew certain words: Peace, Right,
Humanity. But now you see! My heart is
crying too, but I do not know what to call these
scoundrels. Scoundrels? That is not sufficient.
In despair.
Not sufficient.
Emil Grelieu
That is not strong enough. Pierre, I have de-
cided—
Pierre
Decided?
Emil Grelieu
Yes, I am going.
26 THE SORROWS OF BELGIUM [Scene ii
Pierre
You, father?
Emil Grelieu
I decided to do it several days ago — even then, at
the very beginning. And I really don't know why
I — . Oh, yes, I had to overcome within me — ^my
love for flowers.
Ironically.
Yes, Pierre, my love for flowers. Oh, my boy, it is
so hard to change from flowers to iron and blood!
Pierre
Father, I dare not contradict you.
Emil Grelieu
No, no, you dare not. It is not necessary. Listen,
Pierre, you must examine me as a physician.
Pierre
I am only a student, father.
Emil Grelieu
Yes, but you know enough to say — . You see,
Pierre, I must not burden our little army with a
single superfluous sick or weak man. Isn't that
Scene ii] THE SORROWS OF BELGIUM 27
so? I must bring with me strength and power,
not shattered health. Isn't that so? And I am
asking you, Pierre, to examine me, simply as a
physician, as a young physician. But I feel some-
what embarrassed with you — . Must I take this
off, or can you do it without removing this?
Pierre
It can be done this way.
Emil Grelieu
I think so, too. And — ^must I tell you everything,
or — ? At any rate, I will tell you that I have not
had any serious ailments, and for my years I am
a rather strong, healthy man. You know what
a life I am leading.
Pierre
That is unnecessary, father.
Emil Grelieu
It is necessary. You are a physician. I want to
say that in my life there were none of those un-
wholesome— and bad excesses. Oh, the devil take
it, how hard it is to speak of it.
28 THE SORROWS OF BELGIUM [Scene ii
Pierre
Papa, I know all this.
Quickly kisses his father's hand. Silence.
Emil Grelieu
But it is necessary to take my pulse, Pierre, I beg
of you.
Pierre
Smiling faintly.
It isn't necessary to do even that. As a physician,
I can tell you that you are healthy, but — ^you are
unfit for war, you are unfit for war, father! I am
listening to you and I feel like crying, father.
Emil Grelieu
Thoughtfully.
Yes, yes. But perhaps it is not necessary to cry.
Do you think, Pierre, that I should not kill?
Pierre, you think, that I, Emil GreUeu, must not
kill under any circumstances and at any time?
Pierre
Softly.
I dare not touch upon your conscience, father.
Emil Grelieu
Yes, that is a terrible question for a man. I must
Scene n] THE SORROWS OF BELGIUM 29
kill, Pierre. Of course, I could take your gun, but
not to fire — no, that would have been disgusting,
a sacrilegious deception! When my humble people
are condemned to kill, who am I that I should
keep my hands clean? That would be disgusting
cleanliness, obnoxious saintHness. My humble
nation did not desire to kill, but it was forced, and
it has become a murderer. So I, too, must become
a murderer, together with my nation. Upon
whose shoulders will I place the sin — upon the
shoulders of our youths and children? No, Pierre.
And if ever the Higher Conscience of the world
will call my dear people to the terrible accounting,
if it will call you and Maurice, my children, and
will say to you: "What have you done? You
have murdered !*' I will come forward and will
say: "First you must judge me; I have also
murdered — ^and you know that I am an honest
man!"
Pierre sits motionless j his face covered with his hands. Enter
Jeanne J unnoticed.
Pierre
Uncovering his face.
But you must not die! You have no right!
so THE SORROWS OF BELGIUM [Scene n
Emil Grelieu
Loudly, and with contempt.
Oh, death!
They notice Jeanne, and grow silent. Jeanne sits down
and speaks in the same tone of strange, almost cheerful
calm.
Jeanne
Emil, she is here again.
Emil Grelieu
Yes? She is here again. Where has she been the
last two nights?
Jeanne
She does not know herseK. Emil, her dress and
her hands were in blood.
Emil Grelieu
She is wounded?
Jeanne
No, it is not her own blood, and by the color I
could not tell whose blood it is. .
Pierre
Who is that, mother?
Scene ii] THE SORROWS OF BELGIUM 31
Jeanne
A girl. Just a girl. She's insane. I have combed
her hair and put a clean dress on her. She has
beautiful hair. Emil, I have heard something
— I understand that you want to go — ?
Emil Grelieu
Yes.
Jeanne
Together with your children, Emil?
Emil Grelieu
Yes. Pierre has examined me and finds that I
am fit to enter the ranks.
Jeanne
You intend to go tomorrow?
Emil Grelieu
Yes.
Jeanne
You cannot manage it today. Pierre, you have
only an hour and a half left.
Silence.
Pierre
Mamma! Tell him that he must not — Forgive me,
32 THE SORROWS OF BELGIUM [Scene n
father! — that he should not go. Isn't that true,
mother? Tell him! He has given to the nation
his two sons — what more should he give? He has
no right to give more.
Jeanne
More, Pierre?
Pierre
Yes, — ^his life. You love him; you, yourself, would
die if he were killed — tell him that, mother!
Jeanne
Yes, I love him. I love you, too.
Pierre
Oh, what are we, Maurice and I? But he! Just
as they have no right to destroy temples in war or
to bum libraries, just as they have no right to
touch the eternal, so he — ^he — ^has no right to die.
I am speaking not as your son, no; but to kill
Emil Grelieu — that would be worse than to bum
books. Listen to me! You have brought me into
this world. Listen to me! — ^although I am young
and should be silent — Listen to me! They have
already robbed us. They have deprived us of our
land and of the air; they have destroyed our
Scene ii] THE SORROWS OF BELGIUM 33
treasures which have been created by the genius
of our people, and now we would cast our best
men into their jaws! What does that mean?
What will remain of us? Let them kill us all, let
our land be turned into a waste desert, let all
living creatures be burned to death, but as long
as he lives, Belgium is alive! What is Belgium
without him? Oh, do not be silent, mother! Tell
him!
Silence,
Emil Grelieu
Somewhat sternly.
Calm yourself, Pierre!
Jeanne
Yesterday I — no, Pierre, that isn't what I was
going to say — I don't know anything about it.
How could I know? But yesterday I — ^it is hard
to get vegetables, and even bread, here — so I went
to town, and for some reason we did not go in that
direction, but nearer the field of battle — , How
strange it is that we foimd ourselves there! And
there I saw them coming —
Emil Grelieu
Whom?
34 THE SORROWS OF BELGIUM [Scene n
Jeanne
Our soldiers. They were coming from there —
where the battle raged for four days. There were
not many of them — about a hundred or two hun-
dred. But we all — there were so many people in
the streets — ^we all stepped back to the wall in
order to make way for them. Emil, just think of it;
how strange! They did not see us, and we would
have been in their way! They were black from
smoke, from mud, from dried blood, and they
were swaying from fatigue. They were all thin —
as consumptives. But that is nothing, that is all
nothing. Their eyes — ^what was it, Emil? They
did not see their surroundings, they still reflected
that which they had seen there — ^fire and smoke
and death — ^and what else? Some one said: "Here
are people returning from hell." We all bowed
to them, we bowed to them, but they did not see
that either. Is that possible, Emil?
Emil Grelieu
Yes, Jeanne, that is possible.
PlERElE
And he will go to that inferno?
Scene ii] THE SORROWS OF BELGIUM. 35
Silence, Emil Grelieu walks over to his wife and kisses her
hand. She looks at his head with a smile. Stid-
denly she rises.
Jeanne
Forgive me; there is something else I must say —
She moves quickly and lightly, but suddenly, as though stum-
bling over an invisible obstacle, falls on one knee.
Then she tries to rise, kneels, pale and still smiling,
bending to one side. They rush over to her and lift
her from the ground.
Pierre
Mamma ! Mamm a !
Emil Grelieu
You have a headache? Jeaime, my dearest, what
ails you?
She pushes them aside, stands up firmly, trying to conceal her
nervousness.
Jeanne
What is it? What? Don't trouble, Emil! My
head? No, no! My foot slipped — ^you know, the
one that pained me. You see, I can walk now.
Emil Grelieu
A glass of water, Pierre.
36 THE SORROWS OF BELGIUM [Scene n
Jeanne
What for? How absurd!
But Pierre had already gone out. Jeanne sits down, hangs
her headj as one guilty, endeavoring not to look into
his eyes,
Jeanne
What an excitable youth — ^your Pierre! Did you
hear what he said?
Emil Grelieu
Significantly,
Jeanne!
Jeanne
What? No, no — why do you look at me this way?
No — I am telling you.
Pierre brings her water, hut Jeanne does not drink it,
Jeanne
Thank you, Pierre, but I don't want it.
Silence.
How fragrant the flowers are. Pierre, please give
me that rose — yes, that one. Thank you. How
fresh it is, Emil, and what a fine fragrance — come
over here, Emil!
Scene ii] THE SORROWS OF BELGIUM 37
Emil Grelieu goes over to her and kisses the hand in which
she holds the rose. Looks at her.
Jeanne
Lowering her hand.
No; I have asked for this flower simply because its
fragrance seems to me immortal — ^it is always the
same — as the sky. How strange it is, always the
same. And when you bring it close to your face,
and close to your eyes, it seems to you that there
is nothing except this red rose and the blue sky.
Nothing but the red rose and the distant, pale —
very pale — ^blue sky. . . .
Emil Grelieu
Pierre! Listen to me, my boy! People speak of
this only at night, when they are alone with their
souls — ^and she knows it, but you do not know it
yet. Don't you know it, Jeanne?
Jeanne
Trembling, opening her eyes.
Yes, I know, Emil.
Emil Grelieu
The life of the poet does not belong to him. The
38 THE SORROWS OF BELGIUM [Scene ii
roof over the heads of people, which shelters
them — all that is a phantom for me, and my life
does not belong to me. I am always far away,
not here — I am always where I am not. You
think of finding me among the hving, while I am
dead; you are afraid of finding me in death, mute,
cold, doomed to decay, while I hve and sing aloud
from my grave. Death which makes people
mute, which leaves the imprint of silence upon the
bravest lips, restores the voice to the poet. Dead,
I speak more loudly than alive. Dead, I am alive!
Am I — ^just think of it, Pierre, my boy, — am I to
fear death when in my most persistent searches
I could not find the boimdary between life and
death, when in my feelings I mix life and death
into one — ^as two strong, rare kinds of wine?
Just think of it, my boy!
Silence. Emit Grelieu looks at his son^ smiling. Pierre
has covered his face with his hands. The woman is
apparently calm. She turns her eyes from her weep-
ing son to her husband.
Pierre
Uncovering his face.
Forgive me, father!
Scene ii] THE SORROWS OF BELGIUM 39
Jeanne
Take this rose, Pierre, and when it fades and falls
apart tear down another rose — ^it will have the
same fragrance as this one. You are a foolish
little boy, Pierre, but I am also foolish, although
Emil is so kind that he thinks differently. Will
you be in the same regiment, Emil?
Emil Grelieu
No, hardly, Jeanne.
Pierre
Father, it is better that we be in the same regi-
ment. I will arrange it, father — ^will you permit
me? And I will teach you how to march — . You
know, I am going to be your superior officer.
Emil Grelieu
Smiling.
Very well.
Jeanne
Goes out singing in a low voice.
"Only the halo of the arts is crowning — ^law,
liberty, and the King." Who is that? Ah, you!
Look, Pierre, here is the girl you wished to see.
Come in, come in, my dear child! Don't be afraid,
40 THE SORROWS OF BELGIUM [Scene ii
come in! You know him. That's my husband.
He is a very good man and will do you no harm.
And this is my son, Pierre. Give him your hand.
A girl enters; she is frail, very pale, and beautifid. She wears
a black dress, her hair is combed neatly, and she is
modest in her demeanor. Her eyes reflect fright and
sorrow. She is followed by the chambermaid, Silvina,
a kind, elderly woman in a white cap; by Madame
Henrietta, and another woman in the service of the
Grelieu household. They stop at the threshold and
watch the girl curiously. The elder woman is weep-
ing as she looks at her.
Girl
Stretching forth her hand to Pierre.
Oh, that is a soldier! Be so kind, soldier, tell me
how to go to Lonua. I have lost my way.
Pierre
Confused.
1 do not know, Mademoiselle.
Girl
Looking at everybody mournfully.
Who knows? It is time for me to go.
Scene ii] THE SORROWS OF BELGIUM 41
Jeanne
Cautiously and tenderly leading her to a seat.
Sit down, child, take a rest, my dear, give your
poor feet a rest. Pierre, her feet are wounded, yet
she wants to walk all the time.
Elderly Woman
I wanted to stop her. Monsieur Pierre, but it is
impossible to stop her. If we close the door before
her the poor girl beats her head against the walls,
like a bird in a cage. Poor girl !
Dries her tears. Franqois enters from the garden and occupies
himself again with the flowers. He glances at the girl
from time to time. It is evident that he is making
painful efforts to hear and understand what is going
on.
Girl
It is time for me to go.
Jeanne
Rest yourself, here, my child! Why should you
leave? At night it is so terrible on the roads.
There, in the dark air, bullets are buzzing instead
of our dear bees; there wicked people, vicious
beasts are roaming. And there is no one who can
42 THE SORROWS OF BELGIUM [Scene n
tell you, for there is no one who knows how to go
to Lonua.
Girl
Don't you know how I could find my way to
Lonua?
Pierre
Softty.
What is she asking?
Emil Grelieu
Oh, you may speak louder; she can hear as little
as Francois. She is asking about the village which
the Prussians have set on fire. Her home used to
be there — ^now there are only ruins and corpses
there. There is no road that leads to Lonua!
Girl
Don't you know it, either? No one knows. I
have asked everybody, and no one can tell me how
to find my way to Lonua. I must hurry. They
are waiting for me there.
She rises quickly and walks over to Frangois.
Tell me; you are kindhearted! Don't you know
the way to Lonua?
Scene ii] THE SORROWS OF BELGIUM 43
Franqois looks at her intently. Silently he turns away and
walks out, stooping.
Jeanne
Seating her again.
Sit down, little girl. He does not know.
Girl
Sadly.
I am asking, and they are silent.
Emil Grelieu
I suppose she is also asking the bodies of the dead
that lie in the fields and in the ditches how to go
to Lonua.
Jeanne
Her hands and her dress were bloodstained. She
was walking all night. Take a rest, my little one!
I will hold you in my arms, and you will feel better
and more comfortable, my little child.
Girl
SofUy.
Tell me, how can I find my way to Lonua?
Jeanne
Yes, yes, come! Emil, I will go with her to my
44 THE SORROWS OF BELGIUM [Scene n
room. There she will feel more comfortable.
Come along, my dear. I'll hold you. Come!
They go out. The other women follow them. Emit Grelieu
and Pierre remain.
Emil Grelieu
Lonua! A quiet little village which no one ever
noticed before — ^houses, trees, and flowers. Where
is it now? Who knows the way to that little vil-
lage? Pierre, the soul of our people is roam-
ing about in the watches of the night, asking
the dead how to find the way to Lonua! Pierre,
I cannot endure it any longer! I am suffocating
from hatred and anger! Oh, weep, you German
Nation — ^bitter will be the fate of your children,
terrible will be your disgrace before the judgment
of the free nations!
Curtain
SCENE m
Night. The dark silhouette of Emit Grelieu's villa stands
out in the background. The gatekeeper^s house is
seen among the trees, a dim light in the window.
At the cast-iron fence frightened women are hud-
dled together, watching the fire in the distance. An
alarming redness has covered the sky; only in the
zenith is the sky dark. The reflection of the fire falls
upon objects and people, casting strange shadows
against the mirrors of the mute and dark villa. The
voices sound muffled and timid; there are frequent
pauses and prolonged sighs. Three women.
Henrietta
My God, my God! How terrible it is! It is burn-
ing and burning, and there is no end to the fire!
Second Woman
Yesterday it was burning further away, and to-
night the fire is nearer. It is growing nearer. O
Lord!
Henrietta
It is burning and burning, there is no end to the
fire! Today the sun was covered in a mist.
45
46 THE SORROWS OF BELGIUM [Scene m
Second Woman
It is forever burning, and the sun is growing ever
darker! Now it is lighter at night than in the day-
time!
SiLVINA
I am afraid!
Henrietta
Be silent, Silvina, be silent!
Silence.
Second Woman
I can't hear a sound. What is burning there? If
I close my eyes it seems to me that nothing is
going on there. It is so quiet! Even the dogs are
not barking!
Henrietta
I can see all that is going on there even with my
eyes closed. Look; it seems the fire is spreading!
Silvina
Oh, I am afraid!
Second Woman
Where is it burning?
Scene iii] THE SORROWS OF BELGIUM 47
Henrietta
I don't know. It is burning and burning, and there
is no end to the fire! It may be that they have all
perished by this time. It may be that something
terrible is going on there, and we are looking on
and know nothing.
A fourth woman approaches them quietly.
Fourth Woman
Good evening!
SiLVINA
With restraint.
Oh!
Henrietta
Oh, you have frightened us! Good evening,
neighbor!
Fourth Woman
Good evening, Madame Henrietta! Never mind
my coming here — it is terrible to stay in the house!
I guessed that you were not sleeping, but here,
watching. You can see well from this spot.
Don't you know where the fire is?
Second Woman
No. And we can't hear a sound — how quiet!
48 THE SORROWS OF BELGIUM [Scene m
Henrietta
It is burning and burning. Haven't you heard
anything about your husband?
Fourth Woman
No, nothing. I have already stopped weeping.
Henrietta
And with whom are your children just now?
Fourth Woman
Alone. They are asleep. Is it true that Monsieur
Pierre was killed? I've heard about it.
Henrietta
Agitated.
Just imagine! I don't know! I simply cannot
understand what is going on! You see, there
is no one in the house now, and we are afraid to
sleep there —
Second Woman
The three of us sleep here, in the gatekeeper's
house.
Henrietta
I am afraid to look into that house even in the
Scene m] THE SORROWS OF BELGIUM 49
daytime — the house is so large and so empty!
And there are no men there, not a soul —
Fourth Woman
Is it true that Francois has gone to shoot the Prus-
sians? I have heard about it.
Henrietta
Maybe. Everybody is talking about it, but we
don't know. He disappeared quietly, like a mouse.
Fourth Woman
He will be hanged — the Prussians hang such peo-
ple!
Henrietta
Wait, wait! Today, while I was in the garden, I
heard the telephone ringing in the house; it was
ringing for a long time. I was frightened, but I
went in after all — and, just think of it! Some one
said: "Monsieur Pierre was killed!"
Second Woman
And nothing more?
Henrietta
Nothing more; not a word! All grew quiet again.
50 THE SORROWS OF BELGIUM [Scene m
I felt so bad and was so frightened that I could
hardly run out. Now I will not enter that house
for anything!
Fourth Woman
Whose voice was it?
Second Woman
Madame Henrietta says it was an unfamiliar voice.
Henrietta
Yes, an unfamiliar voice.
Fourth Woman
Look ! There seems to be a light in the windows of
the house — somebody is there!
Silvina
Oh, I am afraid ! I can't bear it !
Henrietta
Oh, what are you saying; what are you saying?
There is no one there!
Second Woman
That's from the redness of the sky!
Scene iii] THE SORROWS OF BELGIUM 51
Fourth Woman
What if some one is ringing there again?
Henrietta
How is that possible? At night?
All listen. Silence.
Second Woman
What will become of us? They are coming this
way, and there is nothing that can stop them!
Fourth Woman
I wish I might die now! When you are dead, you
don^t hear or see anything.
Henrietta
It keeps on all night like this — it is burning and
burning! And in the daytime it will again be hard
to see things on account of the smoke; and the
bread will smell of burning! What is going on
there?
Fourth Woman
They have killed Monsieur Pierre.
Second Woman
They have killed him? Killed him?
52 THE SORROWS OF BELGIUM [Scene m
SiLVINA
You must not speak of it! My God, whither
should I go! I cannot bear this. I cannot under-
stand it!
Weeps softly.
Fourth Woman
They say there are twenty millions of them, and
they have already set Paris on fire. They say they
have cannon which can hit a hundred kilometers
away.
Henrietta
My God, my God! And all that is coming upon
us!
Second Woman
Merciful God, have pity on us!
Fourth Woman
And they are fl3ang and they are hurling bombs
from airships — terrible bombs, which destroy en-
tire cities!
Henrietta
My God! What have they done with the sky!
Before this You were alone in the sky, and now
those base Prussians are there too!
Scene iii] THE SORROWS OF BELGIUM 53
Second Woman
Before this, when my soul wanted rest and joy I
looked at the sky, but now there is no place where
a poor soul can find rest and joy!
Fourth Woman
They have taken everything away from our Bel-
gium— even the sky! I wish I could die at once!
There is no air to breathe now!
Siiddenly frightened.
Listen! Don't you think that now my husband,
my husband —
Henrietta
No, no!
Fourth Woman
Why is the sky so red? What is it that is burning
there?
Second Woman
Have mercy on us, O God! The fire seems to be
moving toward us!
Silence. The redness of the flames seems to be swaying over
the earth.
Curtain
SCENE IV
Dawn. The sun has already risen, hut it is hidden behind
the heavy mist and smoke,
A large room in Emit Grelieu's villa, which has been turned
into a sickroom. There are two wounded there, Grelieu
himself, with a serious wound in his shoulder, and
his son Maurice, with a light wound on his right arm.
The large window, covered with half transparent cur-
tains, admits a faint bluish light. The wounded
appear to be asleep. In an armchair at the bedside
of Grelieu there is a motionless figure in white, Jeanne,
Emil Grelieu
Softly,
Jeanne!
She leans over the bed quickly,
Jeanne
Shall I give you some water?
Emtl Grelieu
No. You are tired.
54
Scene iv] THE SORROWS OF BELGIUM 55
Jeanne
Oh, no, not at all. I was dozing all night. Can't
you fall asleep, Emil?
Emil Grelieu
What time is it?
She goes over to the window quietly, and pushing the curtain
aside slightly , looks at her little watch. Then she re-
turns just as quietly,
Jeanne
It is still early. Perhaps you will try to fall asleep,
Emil? It seems to me that you have been suffer-
ing great pain; you have been groaning all night.
Emil Grelieu
No, I am feeling better. How is the weather this
morning?
Jeanne
Nasty weather, Emil; you can't see the sun. Try
to sleep.
Silence. Suddenly Maurice utters a cry in his sleep; the
cry turns into a groan and indistinct mumbling.
Jeanne walks over to him and listens, then returns to
her seat.
56 THE SORROWS OF BELGIUM [Scene iv
Emil Grelteu
Is the boy getting on well?
Jeanne
Don't worry, Emil. He only said a few words in
his sleep.
Emil Grelieu
He has done it several times tonight.
Jeanne
I am afraid that he is disturbing you. We can
have him removed to another room and Henrietta
will stay with him. The boy's blood is in good
condition. In another week, I believe, we shall be
able to remove the bandage from his arm.
Emil Grelieu
No, let him stay here, Jeanne.
Jeanne
What is it, my dear?
She kneels at his bed and kisses his hand carefully,
Emil Grelieu
Jeanne!
Scene IV] THE SORROWS OF BELGIUM 57
Jeanne
I think your fever has gone down, my dear.
Impresses another kiss upon his hand and clings to it,
Emil Grelieu
You are my love, Jeanne.
Jeanne
Do not speak, do not speak. Don't agitate your-
self.
A brief moment of silence,
Emil Grelieu
Moving his head restlessly.
It is so hard to breathe here, the
Jeanne
The window has been open all night, my dear.
There is not a breeze outside.
Emil Grelieu
There is smoke.
Jeanne
Yes.
58 THE SORROWS OF BELGIUM [Scene iv
Maurice
Utters a cry once morey then mutters —
Stop, stop, stop!
Again indistinctly.
It is burning, it is burning! Oh! Who is going to
the battery, who is going to the battery
He mutters and then grows silent.
Emil Grelieu
What painful dreams !
Jeanne
That's nothing; the boy always used to talk in his
sleep. Yesterday he looked so well.
Emil Grelieu
Jeanne!
Jeanne
What is it, my dear?
Emil Grelieu
Sit down.
Jeanne
Very well.
Scene iv] THE SORROWS OF BELGIUM 59
Emil Grelieu
Jeanne. . . . Are you thinking about Pierre?
Silence,
Jeanne
Softly.
Don't speak of him.
Emil Grelieu
You are right. Death is not so terrible. Isn't
that true, Jeanne?
Jeanne
After a brief pause.
That's true.
Emil Grelieu
We shall follow him later. He will not come here,
but we shall go to him. I was thinking of it at
night. It is so clear. Do you remember the red
rose which you gave him? I remember it.
Jeanne
Yes.
Emil Grelieu
It is so clear. Jeanne, lean over me. You are
the best woman in the world.
Silence,
6o THE SORROWS OF BELGIUM [Scene iv
Emil Grelieu
Tossing about in his bed.
It is so hard to breathe.
Jeanne
My dear
Emil Grelieu
No, that^s nothing. The night is tormenting me.
Jeanne, was I dreaming, or have I really heard
cannonading?
Jeanne
You really heard it, at about five o'clock. But
very far away, Emil — it was hardly audible.
Close your eyes, my dear, rest yourself.
Silence
Maurice '
Faintly.
Mamma!
Jeanne walks over to him quietly.
Jeanne
Are you awake?
Maurice
Yes, I have slept enough. How is father?
Scene iv] THE SORROWS OF BELGIUM 6i
Jeanne
He is awake.
Emil Grelieu
Good morning, Maurice.
Maurice
Good morning, papa. How do you feel? I am
feeKng well.
Emil Grelieu
I, too, am feeling well. Jeanne, you may draw
the curtain aside. I can't sleep any longer.
Jeanne
Very well. What a nasty day! Still it will be
easier for you to breathe when it is light.
She draws the curtain aside slowly j so as not to make it too
light at once. Beyond the large window vague sil-
houettes of the trees are seen at the window frames and
several withered, bent flowers. Maurice is trying to
adjust the screen.
Jeanne
What are you doing, Maurice?
Maurice
My coat — ^Never mind, I'll fix it myself.
62 THE SORROWS OF BELGIUM [Scene iv
Guiltily.
No, mamma, you had better help me.
Jeanne
Going behind the screen.
What a fooHsh boy you are, Maurice.
Behind the screen.
Be careful, be careful, that's the way. Don't
hurry, be careful.
Maurice
Behind the screen.
Pin this for me right here, as you did yesterday.
That's very good.
Jeanne
Behind the screen.
Of course. Wait, you'll kiss me later — . Well?
That's the way.
Maurice comes out, his right arm dressed in a bandage. He
goes over to his father and first kisses his hand, then,
upon a sign from his eyes, he kisses him on the lips.
Emil Grelieu
Good morning, good morning, my dear boy.
Scene iv] THE SORROWS OF BELGIUM 63
Maurice
Looking around at the screen, where his mother is putting the
bed in order.
Papa, look!
He takes his hand out of the bandage and straightens it
quickly. Then he puts it back just as quickly. Emit
Grelieu threatens him with his finger. Jeanne puts
the screen aside, and the bed is already in order.
Jeanne
I am through now. Maurice, come to the bath-
room. I'll wash you.
Maurice
Oh, no; under no circumstances. I'll wash myself
today. Last night I washed myself with my left
hand and it was very fine.
Walking over to the open window.
How nasty it is. These scoundrels have spoiled
the day. Still, it is warm and there is the smell of
flowers. It's good, papa; it is very fine.
Emil Grelieu
Yes, it is pleasant.
64 THE SORROWS OF BELGIUM [Scene iv
Maurice
Well, I am going.
Jeanne
Clean your teeth; you didn't do it yesterday,
Maurice.
Maurice
Grumbling.
What's the use of it now? Very well, I'll do it.
At the door.
Papa, do you know, we'll have good news today;
I feel it.
He is heard calling in a ringing voice, " Silvina.^'
Emil Grelieu
I feel better.
Jeanne
I'll let you have your coffee directly. You are
looking much better today, much better.
Emil Grelieu
What is this?
Jeanne
Perfume, with water. I'U bathe your face with
it. That's the way. Now I again have Httle chil-
dren to wash. You see how pleasant it feels.
Scene iv] THE SORROWS OF BELGIUM 65
Emil Grelieu
Yes. What did he say about good news?
Jeanne
He didn't mean anything. He is very happy be-
cause he is a hero.
Emil Grelieu
Do you know any news?
Jeanne
Irresolutely.
Nothing. What news could there be?
Emil Grelieu
Tell me, Jeanne; you were firmer before. Tell me,
my dear.
Jeanne
Was I firmer? Perhaps. ... I have grown
accustomed to talk to you softly at night. Well —
how shall I tell it to you? They are coming.
Emil Grelieu
Coming?
Jeanne
Yes. You know their numbers and ours. Don't
66 THE SORROWS OF BELGIUM [Scene iv
be excited, but I think that it will be necessary
for us to leave for Antwerp today.
Emil Grelieu
Are they near?
Jeanne
Yes, they are near. Very near.
Sings softly.
"Le Roi, la Loi, la Liberte." Very near. I have
not told you that the King inquired yesterday
about your health. I answered that you were
feeling better and that you will be able to leave
today.
Emil Grelieu
Of course I am able to leave today. And what
did he say about them?
Jeanne
What did the King say?
Singing the same tune.
He said that their numbers were too great.
Eaol Grelieu
What else did he say? What else, Jeanne?
Scene iv] THE SORROWS OF BELGIUM 67
Jeanne
What else? He said that there was a God and there
was righteousness. That's what I believe I heard
him say — that there was still a God and that
righteousness was still in existence. How old
these words are, Emil ! But it is so good that they
still exist.
Silence,
Emil Grelieu
Yes, in the daytime you are so different. Where
do you get so much strength, Jeanne?
Jeanne
Where?
Emil Grelieu
I am forever looking at your hair. I am wondering
why it hasn't turned gray.
Jeanne
I dye it at night, Emil. I'll bring in some more
flowers. Now it is very cozy here. Oh, yes, I
haven't told you yet — some one will be here to see
you today — Secretary Lagard and some one else
by the name of Coxmt Clairmont.
68 THE SORROWS OF BELGIUM [Scene iv
Emil Grelieu
Count Clairmont? I don't know him.
Jeanne
It is not necessary that you should know him.
He is simply known as Count Clairmont, Count
Clairmont — . That's a good name for a very
good man.
Emil Grelieu
I know a very good man in Belgium —
Jeanne
Tsh! You must not know anything. You must
only remember — Count Clairmont. They have
some important matters to discuss with you, I
believe. And they'll send you an automobile, to
take you to Antwerp.
Emil Grelieu
Smiling.
Count Clairmont?
Jeanne
Also smiling.
Yes. You are loved by everybody, but if I were
a King, I would have sent you an aeroplane.
Scene iv] THE SORROWS OF BELGIUM 69
Throwing hack her hands in sorrow which she is trying
vainly to suppress.
Ah, how good it would be now to rise from the
ground and fly — and fly for a long, long time.
Enter Maurice.
Maurice
I am ready now, I have cleaned my teeth. I Ve even
taken a walk in the garden. But I have never be-
fore noticed that we have such a beautiful garden!
Papa, our garden is wonderfully beautiful!
Jeanne
Coffee will be ready directly. If he disturbs you
with his talk, call me, Emil.
Maurice
Oh, I did not mean to disturb you. Forgive me,
papa. I'll not disturb you any more.
Emtl Grelieu
You may speak, speak. I am feeling quite well,
quite well.
Jeanne
But you must save your strength, don't forget
that, Emil.
Exit,
70 THE SORROWS OF BELGIUM [Scene iv
Maurice
Sitting down quietly at the window.
Perhaps I really ought not to speak, papa?
Emil Grelieu
Smiling faintly.
Can you be silent?
Maurice
Blushing.
No, father, I cannot just now. I suppose I seem
to you very young.
Emil Grelieu
And what do you think of it yourself?
Maurice
Blushing again.
I am no longer as young as I was three weeks ago.
Yes, only three weeks ago — I remember the toll-
ing of the bells in our church, I remember how I
teased Francois. How strange that Frangois has
been lost and no one knows where he is. What
does it mean that a human being is lost and no
one knows where he is? Before, one could see
everything on earth.
Scene iv] THE SORROWS OF BELGIUM 71
Emil Grelieu
Yes.
Maurice
Papa! Why do they hang such people as Fran-
cois? That is cruel and stupid. Forgive me for
speaking so harshly. But need an old man love
his fatherland less than I love it, for instance?
The old people love it even more intensely. Let
everyone fight as he can. I am not tiring you,
am I? An old man came to us, he was very feeble,
he asked for bullets — ^well, let them hang me
too — I gave him bullets. A few of our regiment
made sport of him, but he said: "If only one Prus-
sian bullet will strike me, it means that the Prus-
sians will have one buUet less.'' That appealed
to me.
Emil Grelieu
Yes, that appeals to me, too. Have you heard
the cannonading at dawn?
Maurice
No. Why, was there any cannonading?
Emil Grelieu
Yes. I heard cannonading. Did mamma tell
72 THE SORROWS OF BELGIUM [Scene iv
you that they are coming nearer and nearer?
They are approaching.
Maurice
Rising.
Really? Impossible!
Emil Grelieu
They are coming, and we must leave for Antwerp
today.
Maurice
Yes.
He rises and walks back and forthj forgetting his wounded
arm. He is greatly agitated. Clenches his fist.
Maurice
Father, tell me: What do you think of the present
state of affairs?
Emil Grelieu
Mamma says there is a God and there is righteous-
ness.
Maurice
Raising his hand.
Mamma says Let God bless mamma! I don't
Scene iv] THE SORROWS OF BELGIUM 73
know — I — . Very well, very well. We shall see;
we shall see!
His face twitches like a child's face. He is trying to repress
his tears,
Maurice
I still owe them something for Pierre. Forgive
me, father; I don't know whether I have a right
to say this or not, but I am altogether cMerent
from you. It is wicked but I can't help it. I was
looking this morning at your flowers in the garden
and I felt so sorry — sorry for you, because you
had grown them. Those rascals!
Emtl Grelieu
Maurice!
Maurice
The scoimdrels! I don't want to consider them
human beings, and I shall not consider them
hmnan beings.
Enter Jeanne,
Jeanne
What is it, Maurice? That isn't right.
74 THE SORROWS OF BELGIUM [Scene iv
Maurice
Very well.
As he passes he embraces his mother with his left hand and
kisses her,
Jeanne
You had better sit down. It is dangerous for your
health to walk around this way.
Emil Grelieu
Sit down, Maurice.
Maurice sits down at the window facing the garden. Emil
. Grelieu smiles sadly and closes his eyes. Silvina^ the
maid, brings in cofee and sets it on the table near
Gfdieu's bed.
SiLVINA
Good morning, Monsieur Emil.
Emil Grelieu
Opening his eyes.
Good morning, Silvina.
Exit Silvina.
Jeanne
Go and have your breakfast, Maurice.
Scene iv] THE SORROWS OF BELGIUM 75
Maurice
Without turning around.
I don't want any breakfast. Mamma, I'll take
off my bandage tomorrow.
Jeanne
Laughing.
Soldier, is it possible that you are capricious?
Silence, Jeanne helps Emil Grelieu with his cofee,
Jeanne
That's the way. Is it convenient for you this way,
or do you want to drink it with a spoon?
Emil Grelieu
Oh, my poor head, it is so weak —
Maurice
Going over to him.
Forgive me, father, I'll not do it any more. I was
foolishly excited, but do you know I could not
endure it. May I have a cup, mamma?
Jeanne
Yes, this is yoiurs. You feel better now?
76 THE SORROWS OF BELGIUM [Scene iv
Maurice
Yes, I do.
Emil Grelieu
I am feeling perfectly well today, Jeanne. When
is the bandage to be changed?
Jeanne
Later. Count Clairmont will bring his surgeon
along with him.
Maurice
Who is that, mamma? Have I seen him?
Jeanne
You'll see him. But, please, Maurice, when you
see him, don't open your mouth so wide. You
have a habit — ^you open your mouth and then
you forget about it.
Maurice
Blushing.
You are both looking at me and smiling. But I
have time yet to grow. I have time yet to grow.
The sound of automobiles is heard.
Scene iv] THE SORROWS OF BELGIUM 77
Jeanne
Rising quickly.
I think they are here. Maurice, this is only Count
Clairmont, don't forget. I'll be back directly.
They will speak with you about a very, very im-
portant matter, Emil, but you must not be agi-
tated.
Emil Grelieu
Yes, I know.
Jeanne
Kissing him quickly.
I am going.
Exit J almost colliding with Silvinaj who is excited,
Maurice
Whispering.
Who is it, Silvina?
Silvina makes some answer in mingled delight and awe.
Maurice's face assumes the same expression as Sil-
vina^s. Silvina goes out. Maurice walks quickly
to the window and raises his left hand to his forehead j
straightening himself in military fashion. Thus he
stands until the others notice him.
78 THE SORROWS OF BELGIUM [Scene iv
Enter Jeanne, Count Clairmont, followed by Secretary Lagard
and the Count's adjutant, an elderly General of stern
appearance, with numerous decorations upon his
chest. The Count himself is tall, well built and
young, in a modest officer's uniform, without any
medals to signify his high station. He carries himself
very m^odestly, almost bashfully, but overcoming his
first uneasiness, he speaks warmly and powerfully
and freely. His gestures are swift. All treat him
with profound respect.
Lagard is a strong old man with a leonine gray head. He
speaks simply, his gestures are calm and resolute. It
is evident that he is in the habit of speaking from a
platform.
Jeanne holds a large bouquet of flowers in her hands. Count
Clairmont walks directly toward Grelieu^s bedside.
Count Clairmont
Confused.
I have come to shake hands with you, my dear
master. Oh, but do not make a single unnecessary
movement, not a single one, otherwise I shall be
very unhappy!
Emil Greleeu
I am deeply moved, I am happy.
Scene iv] THE SORROWS OF BELGIUM 79
Count Clairmont
No, no, don^t speak that way. Here stands before
you only a man who has learned to think from
your books. But see what they have done to
you — ^look, Lagard!
Lagaed
How are you, Grelieu? I, too, want to shake
your hand. Today I am a Secretary by the will
of Fate, but yesterday I was only a physician,
and I may congratulate you — ^you have a kind
hand. Let me feel your pulse.
General
Coming forward modestly.
Allow me, too, in the name of this entire army of
ours to express to you our admiration, Monsieur
Grelieu!
Emil Grelieu
I thank you. I am feeling perfectly well, Lagard.
Count Clairmont
But perhaps it is necessary to have a surgeon?
8o THE SORROWS OF BELGIUM [Scene iv
Jeanne
He can listen and talk, Count. He is smiling —
he can listen.
Count Clairmont
Noticing Maurice j confused.
Oh ! who is this? Please put down your hand — ^you
are wounded.
Maurice
I am so happy, Count.
Jeanne
This is our second son. Our first son, Pierre, was
killed at Li6ge —
Count Clairmont
I dare not console you, Madame Grelieu. Give
me your hand, Maurice.
Maurlce
Oh, Count! I am only a soldier. I dare not —
Count Clairmont
My dear young man, I, too, am nothing but a
soldier now. Your hand, comrade. That's the
way. Master! My children and my wife have
Scene iv] THE SORROWS OF BELGIUM 8i
sent you flowers — but where are they? Oh! how
absentminded I am.
Jeanne
Here they are, Count.
Count Clairmont
Thank you. But I did not know that your flowers
were better than mine, for my flowers smell of
smoke.
Lagard
Like all Belgium.
To Count Clairmont.
His pulse is good. Grelieu, we have come to you
not only to express our sympathy. Through me
all the working people of Belgium are shaking
your hand.
Emil Grelieu
I am proud of it, Lagard.
Lagard
But we are just as proud. Yes; there is something
we must discuss with you. Count Clairmont
did not wish to disturb you, but I said: "Let
him die, but before that we must speak to him/*
Isn't that so, comrade?
82 THE SORROWS OF BELGIUM [Scene iv
Emil Grelieu
I am not dying. Maurice, I think you had better
go out.
Count Clairmont
Quickly.
Oh, no, no. He is your son, Grelieu, and he should
be present to hear what his father will say. Oh,
I should have been proud to have such a father.
Lagard
Our Count is a very fine young man — Pardon me,
Coimt, I have again upset our —
Count Clairmont
That's nothing, I have already grown accustomed
to it. Master, it is necessary for you and your
family to leave for Antwerp today.
Emil Grelieu
Are our affairs in such a critical condition?
Lagard
What is there to tell? Things are in bad shape,
very bad. That horde of Huns is coming upon us
like the tide of the sea. Today they are still there,
Scene iv] THE SORROWS OF BELGIUM Ss
but tomorrow they will flood your house, Grelieu.
They are coming toward Antwerp. To what can
we resort in our defence? On this side are they,
and there is the sea. Only very little is left of
Belgium, Grelieu. Very soon there will be no
room even for my beard here. Isn't that so,
Count?
SUence. Dull sounds of cannonading are heard in the dis-
tance. All turn their eyes to the window.
Emil Grelieu
Is that a battle?
Count Clairmont
Listening^ calmly.
No, that is only the beginning. But tomorrow
they will carry their devilish weapons past your
house. Do you know they are real iron monsters,
imder whose weight our earth is quaking and
groaning. They are moving slowly, like am-
phibia that have crawled out at night from the
abyss — ^but they are moving! Another few days
will pass, and they will crawl over to Antwerp,
they will turn their jaws to the city, to the churches
— Woe to Belgium, master! Woe to Belgium!
84 THE SORROWS OF BELGIUM [Scene iv
Lagard
Yes, it is very bad. We are an honest and peaceful
people despising bloodshed, for war is such a
stupid afifair! And we should not have had a
single soldier long ago were it not for this accursed
neighbor, this den of murderers.
General
And what would we have done without any sol-
diers, Monsieur Lagard?
Lagakd
And what can we do with soldiers. Monsieur
General?
Count Clairmont
You are wrong, Lagard. With our little army there
is still one possibility — to die as freemen die. But
without an army we would have been bootblacks,
Lagard!
Lagard
Grumbling.
Well, I would not clean anybody's boots. Things
are in bad shape, GreUeu, in very bad shape. And
there is but one remedy left for us — . True, it is
a terrible remedy.
Scene iv] THE SORROWS OF BELGIUM 85
Emil Grelieu
I know.
Lagard
Yes? What is it?
Emil Grelieu
The dam.
Jeanne and Emil shtidder and look at each other with terror
in their eyes.
Count Clairmont
You shuddered, you are shuddering, madame.
But what am I to do, what are we to do, we who
dare not shudder?
Jeanne
Oh, I simply thought of a girl who was trying to
find her way to Lonua. She will never find her
way to Lonua.
Count Clairmont
But what is to be done? What is to be done?
All become thoughtful. The Count steps away to the window
and looks out, nervously twitching his mustaches,
Maurice has moved aside and, as before, stands at
attention. Jeanne stands a little distance away from
86 THE SORROWS OF BELGIUM [Scene iv
himf with her shoulder leaning against the wall,
her beautiful pale head thrown hack. Lagard is
sitting at the bedside as before, stroking his gray, dis-
heveled beard. The General is absorbed in gloomy
thoughts.
Count Clairmont
Turning around resolutely.
I am a peaceful man, but I can imderstand why
people take up arms. Arms! That means a
sword, a gun, explosive contrivances. That is
fire. Fire is killing people, but at the same time
it also gives light. Fire cleanses. There is some-
thing of the ancient sacrifice in it. But water!
cold, dark, silent, covering with mire, causing
bodies to swell — ^water, which was the beginning of
chaos; water, which is guarding the earth by day
and night in order to rush upon it. My friend,
believe me, I am quite a daring man, but I am
afraid of water! Lagard, what would you say to
that?
Lagard
We Belgians have too long been struggUng against
the water not to have learned to fear it. I am
also afraid of water.
Scene iv] THE SORROWS OF BELGIUM 87
Jeanne
But what is more terrible, the Prussians or water?
General
Bomng.
Madame is right. The Prussians are not more
terrible, but they are worse.
Lagard
Yes. We have no other choice. It is terrible to
release water from captivity, the beast from its
den, nevertheless it is a better friend to us than
the Prussians. I would prefer to see the whole of
Belgium covered with water rather than extend a
hand of reconciliation to a scoimdrel! Neither
they nor we shall live to see that, even if the en-
tire Atlantic Ocean rush over our heads.
Brief pause.
General
But I hope that we shall not come to that. Mean-
while it is necessary for us to flood only part of
our territory. That is not so terrible.
Jeanne
Her eyes closed j her head hanging down.
And what is to be done with those who could not
SS THE SORROWS OF BELGIUM [Scene iv
abandon their homes, who are deaf, who are sick
and alone? What will become of our children?
Silence.
Jeanne
There in the fields and in the ditches are the
woimded. There the shadows of people are wan-
dering about, but in their veins there is still warm
blood. What will become of them? Oh, don't
look at me like that, Emil; you had better not
listen to what I am sa3dng. I have spoken so
only because my heart is wnmg with pain — ^it
isn't necessary to listen to me at all, Coimt.
Count Clairmont walks over to Grelieu^s bed quickly and
firmly. At first he speaks confusedly j seeking the right
word; then he speaks ever more boldly and firmly.
Count Clairmont
My dear and honored master ! We would not have
dared to take from you even a drop of your health,
if — if it were not for the assurance that serving
your people may give new strength to your heroic
soul! Yesterday, it was resolved at our council
to break the dams and flood part of our kingdom,
but I could not, I dared not, give my full consent
before I knew what you had to say to this plan. I
Scene iv] THE SORROWS OF BELGIUM 89
did not sleep all night long, thinking — oh, how
terrible, how inexpressibly sad my thoughts were!
We are the body, we are the hands, we are the
head — ^while you, Grelieu, you are the conscience
of our people. Blinded by the war, we may im-
willingly, unwittingly, altogether against our will,
violate man-made laws. Let your noble heart
tell us the truth. My friend! We are driven to
despair, we have no Belgiimi any longer, it is
trampled by our enemies, but in your breast,
Emil Grelieu, the heart of all Belgium is beating —
and your answer will be the answer of our tor-
mented, blood-stained, imfortimate land!
He turns away to the window. Maurice is crying^ looking
at his father.
Lagard
Softly.
Bravo, Belgium!
Silence. The sound of cannonading is heard,
Jeanne
Softly J to Maurice.
Sit down, Maurice, it is hard for you to stand.
Maurice
Oh, mamma ! I am so happy to stand here now —
90 THE SORROWS OF BELGIUM [Scene iv
Lagard
Now I shall add a few words. As you know, Gre-
lieu, I am a man of the people. I know the price
the people pay for their hard work. I know the
cost of all these gardens, orchards and factories
which we shall bury under the water. They
have cost us sweat and health and tears, GreUeu.
These are our sufferings which will be transformed
into joy for our children. But as a nation that
loves and respects Uberty above its sweat and
blood and tears — as a nation, I say, I would prefer
that sea waves should seethe here over our heads
rather than that we should have to black the boots
of the Prussians. And if nothing but islands re-
main of Belgium they will be known as "honest
islands," and the islanders will be Belgians as
before.
All are agitated.
Emil Grelieu
And what do the engineers say?
General
Respectfully waiting for the Count's answer.
Monsieur Grelieu, they say this can be done in two
hours.
Scene iv] THE SORROWS OF BELGIUM 91
Lagard
Grumbles.
In two hours! In two hours! How many years
have we been building it!
General
The engineers were crying when they said it,
Monsieur.
Lagard
The engineers were crying? But how could they
help crying? Think of it, Grelieu!
SiMenly he hursts into sohsj and slowly takes a handker-
chief from his pocket.
Count Clairmont
We are awaiting your answer impatiently, Grelieu.
You are charged with a grave responsibility to
your fatherland — to lift your hand against your
own fatherland.
Emil Grelieu
Have we no other defence?
Silence. All stand in poses of painful anxiety. Lagard
dries his eyes and slowly answers with a sigh.
92 THE SORROWS OF BELGIUM [Scene iv
Lagard
No.
General
No.
Jeanne
Shaking her head.
No.
Count Clairmont
Rapidly,
We must gain time, Grelieu. By the power of all
our lives, thrown in the fields, we cannot stop
them.
Stamping his foot.
Time, time! We must steal from fate a small
part of eternity — a few days, a week! They are
hastening to us. The Russians are coming to us
from the East. The German steel has already
penetrated to the heart of the French land — and
infuriated with pain, the French eagle is rising
over the Germans' bayonets and is coming toward
us! The noble knights of the sea — the British —
are already rushing toward us, and to Belgium are
their powerful arms stretched out over the abyss.
But, time, time! Give us time, Grelieu. Belgium
is pra3dng for a few days, for a few hours! You
Scene iv] THE SORROWS OF BELGIUM 93
have already given to Belgium your blood, Grelieu,
and you have the right to lift your hand against
your blood-stained fatherland!
Brief pause.
Emil Grelieu
We must break the dams.
Curtain
SCENE V
Night. A small house occupied by the German staff. A sen-
tinel on guard at the door leading to the rooms occupied
hy the Commander of the army. All the doors and
windows are open. The room is illuminated with
candles. Two officers on duty are talking lazily^
suffering apparently from the heat. All is quiet in
the camp. Only from time to time the measured foot-
steps of pickets are heard, and muffled voices and an-
gry exclamations.
Von Ritzau
Do you feel sleepy, von Stein?
Von Stein
I don't feel sleepy, but I feel like smoking.
Ritzau
A bad habit! But you may smoke near the window.
Stein
But what if he should come in? Thank you, von
Ritzau. What a stifling night! Not a breath of
pure air enters the lungs. The air is poisoned
94
Scene v] THE SORROWS OF BELGIUM 95
with the smell of smoke. We must invent some-
thing against this obnoxious odor. Take it up,
Ritzau.
RiTZAU
I am not an inventor. First of all it is necessary
to wring out the air as they wring the clothes they
wash, and dry it in the sun. It is so moist, I feel
as though I were diving in it. Do you know
whether he is in a good mood today?
Stein
Why, is he subject to moods, good or bad?
Ritzau
Great self-restraint!
Stein
Have you ever seen him undressed — or half-
dressed? Or have you ever seen his hair in dis-
order? He is a wonderful old man!
Ritzau
He speaks so devilishly Kttle, Stein.
Stein
He prefers to have his cannon speak. It is quite
a powerful voice, isn't it, Ritzau?
96 THE SORROWS OF BELGIUM [Scene v
They laugh softly. A tall, handsome officer enters quickly
and goes toward the door leading to the room of the
Commander,
Blumenfeld! Any news?
The tall officer waves his hand and opens the door cautiously ^
ready to make his bow.
He is making his career!
RiTZAU
He is a good fellow. I can't bear it, Stein. I am
suffocating here.
Stein
Would you rather be in Paris?
RiTZAU
I would prefer any less imbearable country to this.
How dull it must be here in the winter time.
Stein
But we have saved them from dullness for a long
time to come. Were you ever in the mont maitre
cafes, Ritzau?
RiTZAU
Of course!
Stein
Doesn't one find there a wonderful refinement, cul-
Scene v] THE SORROWS OF BELGIUM 97
ture and innate elegance? Unfortunately, our
Berlin people are far different.
RiTZAU
Oh, of course. Great!
The tall officer comes out of the door, stepping backward. He
heaves a sigh of relief and sits down near the two
officers. Takes out a cigar.
Von Blumenfeld
How are things?
RiTZAU
Very well. We were talking of Paris.
Stein
Then I am going to smoke too.
Blumenfeld
You may smoke. He is not coming out Do you
want to hear important news?
Stein
WeU?
Blumenfeld
He laughed just now!
98 THE SORROWS OF BELGIUM [Scene v
Stein
ReaUy!
Blumenfeld
Upon my word of honor! And he touched my
shoulder with two fingers — do you understand?
Stein
With envy.
Of course! I suppose you brought him good news,
Blumenfeld?
The military telegraphist, standing at attention^ hands Blu-
menfeld a folded paper.
Telegraphist
A radiogram, Lieutenant!
Blumenfeld
Let me have it.
Slowly he puts his cigar on the window sill and enters the
Commander's room cautiously.
Stein
He's a lucky fellow. You may say what you please
about luck, but it exists. Who is this Blumenfeld?
Von? — ^Did you know his father? Or his grand-
father?
Scene v] THE SORROWS OF BELGIUM 99
RiTZAU
I have reason to beKeve that he had no grandfather
at all. But he is a good comrade.
Blumenfeld comes out and rejoins the two officers^ taking
up his cigar.
Stein
Another military secret?
Bltjmenfeld
Of course. Everything that is said and done here
is a military secret. But I may tell you about it.
The information we have received concerns our
new siege gims — they are advancing successfully.
Stein
Oho!
Blumenfeld
Yes, successfully. They have just passed the most
difficult part of the road — ^you know where the
swamps are
Stein
Oh, yes.
RiTZAU
Great!
100 THE SORROWS OF BELGIUM [Scene v
Blumenfeld
The road could not support the heavy weight and
caved in. Our commander was very uneasy. He
ordered a report about the movement at each
and every kilometer.
Stein
Now he will sleep in peace.
Blumeneeld
He never sleeps, von Stein.
Stein
That's true.
Blumeneeld
He never sleeps, von Stein! When he is not listen-
ing to reports or issuing conmiands, he is thinking.
As the personal correspondent of his Highness I
have the honor to know many things which others
are not allowed to know — Oh, gentlemen, he has a
wonderful mind!
RiTZAU
Great!
Another very young officer enters j stands at attention before
Blumenfeld,
Scene vJ THE SORROWS OF BELGIUM loi
Blumenfeld
Sit down, von Schauss. I am talking about our
Commander.
Schauss
Oh!
Blumenfeld
He has a German philosophical mind which man-
ages guns as Leibnitz managed ideas. Everything
is preconceived, everything is prearranged, the
movement of our miUions of people has been elabo-
rated into such a remarkable system that Kant
himself would have been proud of it. Gentle-
men, we are led forward by indomitable logic and
by an iron will. We are inexorable as Fate.
The officers express their approval by subdued exclamations
of ''bravo:'
Blumenfeld
How can he sleep, if the movement of our armies
is but the movement of parts of his brains! And
what is the use of sleep in general? I sleep very
little myself, and I advise you, gentlemen, not to
indulge in foolish sleep.
RiTZAU
But our human organism requires sleep.
I02 THE SORROWS OF BELGIUM [Scene v
Blumenfeld
Nonsense ! Organism — that is something invented
by the doctors who are looking for practice among
the fools. I know of no organism. I know only
my desires and my will, which says: "Gerhardt,
do this ! Gerhardt, go there ! Gerhardt, take this ! "
And I take it!
RiTZAU
Great!
SCHAUSS
Will you permit me to take down your words in my
notebook?
Blumenfeld
Please, Schauss. What is it you want, Zigler?
The telegraphist has entered.
Zigler
I really don't know, but something strange has
happened. It seems that we are being interfered
with, I can't understand anything.
Blumenfeld
What is it? What is the matter?
Zigler
We can make out one word, "Water" — ^but after
Scene v] THE SORROWS OF BELGIUM 103
that all is incomprehensible. And then again,
"Water''—
Blumenfeld
What water? You are intoxicated, Zigler. That
must be wine, not water. Is the engineer there?
Zigler
He is also surprised and cannot understand.
Blumenfeld
You are a donkey, Zigler! We'll have to call out —
The Commander comes out. He is a tall, erect old man. His
face is pale. His voice is dry and unimpassioned.
Commander
Blumenfeld!
All jump up J straighten themselves, as if petrified.
What is this?
Blumenfeld
I have not yet investigated it, your Highness.
Zigler is reporting
Commander
What is it, Zigler?
104 THE SORROWS OF BELGIUM [Scene v
ZiGLER
Your Highness, we are being interfered with. I
don't know what it is, but I can't understand
anything. We have been able to make out only
one word— "Water.'' Then again— "Water."
Commander
Turning around.
See what it is, Blumenfeld, and report to me —
Engineer runs in.
Engineer
Where is Blumenfeld? I beg your pardon, your
Highness!
Commander
Pausing.
What has happened there, Kloetz?
Engineer
They don't respond to our calls, your Highness.
They are silent like the dead. Something has
happened there.
Commander
You think something serious has happened?
Scene v] THE SORROWS OF BELGIUM 105
Engineer
I dare not think so, your Highness, but I am
alarmed. Silence is the only answer to our most
energetic calls. But Greitzer wishes to say some-
thing. . . . Well? What is it, Greitzer?
The second telegraphist has entered quietly.
Greitzer
They are silent, your Highness.
Brief pause.
Commander
Again turning to the door.
Please investigate this. Lieutenant.
He advances a step to the door, then stops. There is a com-
motion behind the windows — a noise and the sound
of voices. The word ^^ water ^^ is repeated frequently.
The noise keeps growing, turning at times into a loud
roar.
What is that?
AU turn to the window. An officer, bareheaded, rushes in
excitedly, his hair disheveled, his face pale.
Officer
I want to see his Highness. I want to see his
Highness!
• io6 THE SORROWS OF BELGIUM [Scene v
Blumenfeld
Hissing.
You are insane!
Commander
Calm yourself, officer.
Officer
Your Highness! I have the honor to report to
you that the Belgians have burst the dams, and
our armies are flooded. Water!
With horror.
We must hurry, your Highness!
Commander
Hurry! I ask you to calm yourseK, officer. What
about our guns?
Officer
They are flooded, your Highness.
Commander
Compose yourself, you are not behaving properly!
I am asking you about our field guns —
Officer
They are flooded, your Highness. The water is
Scene v] THE SORROWS OF BELGIUM 107
coming this way. We must hurry, your High-
ness, we are in a valley. This place is very low.
They have broken the dams; and the water is
rushing this way violently. It is only five kilo-
meters away from here — and we can hardly — .
I beg your pardon, your Highness!
Silence. The commotion without is growing louder. Glim-
mering lights appear. The beginning of a terrible
panic is felt, embracing the entire camp. All watch
impatiently the reddening face of the Commander.
Commander
But this is —
He strikes the table with his fist forcibly.
Absurd!
He looks at them with cold fury, but all lower their eyes. The
frightened officer is trembling and gazing at the win-
dow. The lights grow brighter outside — it is evident
that a building has been set on fire. The voices with-
out have turned into a roar. A dull noise, then the
crash of shots is heard. The discipline is disappear-
ing gradually.
Blumenfeld
They have gone mad!
io8 THE SORROWS OF BELGIUM [Scene v
Officer
They are firing! It is an attack!
Stein
But that can't be the Belgians!
RiTZAU
They may have availed themselves —
Blumenfeld
Aren't you ashamed, Stein? Aren't you ashamed,
gentlemen?
Commander
Silence ! I beg of you —
Suddenly a piercings wild sound of a horn is heard ordering
to retreat. The roaring sound is growing rapidly.
Commander
Shots.
Who has commanded to retreat? Who dares com-
mand when I am here? What a disgrace, Blumen-
feld! Order them to return!
Blumenfeld lowers his head.
Scene v] THE SORROWS OF BELGIUM 109
Commander
This is not the German Army! You are unworthy
of being called soldiers! Shame! I am ashamed
to call myseK your general ! Cowards !
Blumenfeld
Stepping forward, with dignity.
Your Highness!
Officer
Eh! We are not fishes to swim in the water!
Runs out, followed by two or three others. The panic is
growing.
Blumenfeld
Your Highness! We ask you — . Your life is in
danger — ^your Highness.
Some one else runs out. The room is almost empty. Only the
sentinel remains in the position of one petrified.
Blumenfeld
Your Highness! I implore you. Your life — I am
afraid that another minute, and it will be too late!
Oh, your Highness!
no THE SORROWS OF BELGIUM [Scene v
Commander
But this is —
Again strikes the table with his fist.
But this is absurd, Blumenfeld!
Curtain
SCENE VI
The same hour of night. In the darkness it is difficult to
discern the silhouettes of the ruined buildings and
of the trees. At the right, a half-destroyed bridge. In
the distance a fire is burning. From time to time the
German flashlights are seen across the dark sky.
Near the bridge, an automobile in which the wounded
Emit Grelieu and his son are being carried to Antwerp,
Jeanne and a young physician are with them. Some-
thing has broken down in the automobile and a soldier-
chaufeur is bustling about with a lantern trying to
repair it. Dr. Langloi stands near him.
Doctor
Uneasily.
WeU? How is it?
Chauffeur
Examining.
I don't know yet.
Doctor
Is it a serious break?
Ill
112 THE SORROWS OF BELGIUM [Scene vi
Chauffeur
No — I don't know.
Maurice
From the automobile.
What is it, Doctor? Can't we start?
Chauffeur
Angrily,
We'll start!
Doctor
I don't know. Something is out of order. He
says it isn't serious.
Maurice
Shall we stay here long?
Doctor
To the chauffeur.
Shall we stay here long?
Chauffeur
Angrily,
How do I know? About ten minutes I think.
Please hold the light for me.
Hands the lantern to the doctor.
Scene vi] THE SORROWS OF BELGIUM 113
Maueuce
Then I will come out.
Jeanne
You had better stay here, Maurice. You may hurt
your arm.
Maurice
No, mother, I am careful. Where is the step?
How inconvenient. Why don't they throw the
flashlight here?
Jumps of and watches the chauffeur at work,
Maurice
How unfortunate that we are stuck here!
Chauffeur
Grumbling,
A bridge! How can anybody drive across such a
bridge?
Doctor
Yes, it is imfortunate. We should have started
out earlier.
Maurice
Shrugging his shoulders.
Father did not want to leave. How could we
114 THE SORROWS OF BELGIUM [Scene vi
start? Mamma, do you think our people are
already in Antwerp?
Jeanne
Yes, I think so. Emil, aren't you cold?
Emil Grelieu
No. It is very pleasant to breathe the fresh air.
I feel stronger.
Doctor
To Maurice.
I think we are still in the region which —
Maurice
Yes. What time is it, Doctor?
Doctor
Looking at his watch.
Twenty — ^a quarter of ten.
Maurice
Then it is a quarter of an hour since the bursting
of the dams. Yes! Mamma, do you hear, it is a
quarter of ten now!
Jeanne
Yes, I hear.
Scene vi] THE SORROWS OF BELGIUM 115
Maurice
But it is strange that we haven't heard any explo-
sions.
Doctor
How can you say that, Monsieur Maurice? It is
very far away.
Maurice
I thought that such explosions would be heard a
hundred kilometers away. My God, how strange
it is! Our house and our garden will soon be
flooded! I wonder how high the water will rise.
Do you think it will reach up to the second story?
Doctor
Possibly. Well, how are things moving?
Chauffeur
Grumbling.
I am working.
Maurice
Look, look! Mamma, see how the searchlights
are working. They seem to be frightened. Father,
do you see them?
Emil Grelieu
Jeanne, lift me a little.
ii6 THE SORROWS OF BELGIUM [Scene vi
Jeanne
My dear, I don't know whether I am allowed to
doit.
Doctor
You may lift him a little, if it isn't very painful.
The bandage is tight.
Jeanne
Do you feel any pain?
Emil Grelieu
No. They are frightened.
Maurice
Father, they are flashing the searchlights across
the sky like madmen. Look, look!
A bluish light is flashed over them, faintly illuminating the
whole group,
Maurice
Right into my eyes! Does that come from an
elevation, father?
Emil Grelieu
I suppose so. Either they have been warned,
or the water is reaching them by this time.
Scene vi] THE SORROWS OF BELGIUM 117
Jeanne
Do you think so, Emil?
Emil Grelieu
Yes. It seems to me that I hear the sound of the
water from that side.
All listen and look in the direction from which the noise came.
Doctor
Uneasily.
How impleasant this is! We should have started
out sooner. We are too late.
Maurice
Father, it seems to me I hear voices. Listen — ^it
sounds as though they are crying there. Many,
many people. Father, the Prussians are crying.
It is they!
A distantf dull roaring of a crowd is heard. Then the crash
of shots resounds. Sobs of military horns. The
searchlights are swaying from side to side.
Emil Grelieu
It ia they.
Doctor
If we don't start in a quarter of an hour —
ii8 THE SORROWS OF BELGIUM [Scene vi
Emil Grelieu
In half an hour, Doctor.
Maurice
Father, how beautiful and how terrible it is! Give
me your hand, mother.
Jeanne
What is it?
Maurice
I want to kiss it. Mother, you have no gloves on!
Jeanne
What a foolish little boy you are, Maurice.
Maurice
Monsieur Langloi said that in three days from now
I may remove my bandage. Just think of it, in
three days I shall be able to take up my gun
again! . . . Oh, who is that? Look, who is that?
All near the automobile assume defensive positions. The
chauffeur and the doctor draw their revolvers, A
figure appears from the fields approctching from one
of the ditches. A peasant^ wounded in the leg, comes
up slowly, leaning upon a cane.
Scene vi] THE SORROWS OF BELGIUM 119
Maurice
Who is there?
Peasant
Our own, our own. And who are you? Are you
going to the city?
Maurice
Yes, we're going to the city. Our car has broken
down, we're repairing it. What are you doing
here?
Peasant
What am I doing here?
Examines the unfamiliar faces curiously. They also look at
him attentively J by the light of the lantern.
Chauffeur
Give me the Ught!
Peasant
Are you carrying a wounded man? I am also
wounded, in my leg. I cannot walk, it is very
hard. I must lean on my cane. Are you going to
the city? I lay there in the ditch and when I
heard you speak French I crawled out. My name
is Jaqular.
I20 THE SORROWS OF BELGIUM [Scene vi
Doctor
How were you wounded?
Peasant
I was walking in the field and they shot me. They
must have thought I was a rabbit.
Laughs hoarsely.
They must have thought I was a rabbit. What is
the news, gentlemen? Is our Belgium lost?
Laughs.
Eh? Is our Belgium lost?
MAUiacE
Don't you know?
Peasant
What can I know? I lay there and looked at the
sky — that's all I know. Did you see the sky?
Just look at it, I have been watching it all the
time. What is that I see in the sky, eh? How
would you explain it?
Emil Grelieu
Sit down near us.
Scene vi] THE SORROWS OF BELGIUM 121
Maurice
Listen, sit down here. It seems you haven't heard
anything. You must get away from here. Do you
know that the dams are broken? Do you under-
stand? The dams!
Peasant
The dams?
Maurice
Yes. Don't you hear the cries over there? Listen!
They are crying there — the Prussians !
Peasant
Water?
Maurice
Water. It must be reaching them now. They
must have learned of it by this time. Listen, it
is so far, and yet we can hear!
The peasant laughs hoarsely.
Maurice
Sit down, right here, the automobile is large.
Doctor, help him. I will hold the lantern.
Chauffeur
Muttering.
Sit down, sit down! Eh!
122 THE SORROWS OF BELGIUM [Scene vi
Doctor
Uneasily,
What is it? Bad? Chauffeur, be quick! We
can't stay here! The water is coming. We should
have started out earlier.
Maurice
What an unfortunate mishap!
Jeanne
Agitated.
They shot you like a rabbit? Do you hear, Emil —
they thought a rabbit was running! Did you re-
semble a rabbit so closely?
She laughs lovdly, the peasant also laughs.
Peasant
I look like a rabbit! Exactly Uke a rabbit.
Jeanne
Do you hear, Emil? He says he looks exactly like
a rabbit!
Laughs.
Emil Grelieu
Jeanne!
Scene vi] THE SORROWS OF BELGIUM 123
Maurice
Mamma!
Jeanne
It makes me laugh — it seems so comical to me that
they mistake us for rabbits. And now, what are
we now — water rats? Emil, just picture to your-
self, water rats in an automobile!
Maurice
Mamma!
Jeanne
No, no, I am not laughing any more, Maurice!
Laughs.
And what else are we? Moles? Must we hide in
the ground?
Peasant
Laughs.
And now we must hide in the ground —
Jeanne
In the same tone.
And they will remain on the ground? Emil, do
you hear?
Emil Grelieu
My dear! My dear!
124 THE SORROWS OF BELGIUM [Scene vi
Maurice
To the doctor.
Listen, you must do something. Haven't you
anything? Listen! Mamma, we are starting
directly, my dear!
Jeanne
No, never mind, I am not laughing any more.
How foolish you are. Maurice, I simply felt like
talking. I was silent too long. I was forever
silent, but just now I felt like chattering. Emil, I
am not disturbing you with my talk, am I? Why
is the water so quiet, Emil? It was the King who
said, "The water is silent," was it not? But I
should like to see it roar, crash like thunder. . . .
No, I cannot, I cannot bear this silence! Ah, why
is it so quiet — I cannot bear it!
Maurice
To the chauffeur.
My dear fellow, please hurry up!
Chauffeur
Yes, yes! I'm working, I'm working. We'll start
soon.
Scene vi] THE SORROWS OF BELGIUM 125
Jeanne
Suddenly crieSy threatening.
But I cannot bear it! I cannot!
Covers her mouth with her hands; sobs,
I cannot!
Maurice
Mamma!
Emil Grelieu
All will end well, Jeanne. All will end well. I
know. I also feel as you do. But all will end
well, Jeanne!
Jeanne
Sobbing J but calming herself somewhat.
I cannot bear it!
Emil Greliext
All will end well, Jeanne! Belgium will live! The
sun will shine! I am suffering, but I know this,
Jeanne!
Maurice
Quicker! Quicker!
Chauffeur
In a moment, in a moment. Now it is fixed, in a
moment.
126 THE SORROWS OF BELGIUM [Scene vi
Emil Grelieu
Faintly.
Jeanne!
Jeanne
Yes, yes, I know. . . . Forgive me, forgive me,
I will soon —
A lovdy somewhat hoarse voice of a girl comes from the dark.
Girl
Tell me how I can find my way to Lonua!
Exclamations of surprise,
Maurice
Who is that?
Jeanne
Emil, it is that girl!
Laughs.
She is also like a rabbit!
Doctor
Grumbles.
What is it, what is it — ^Who?
Throws the light on the girl. Her dress is torn, her eyes look
wild. The peasant is laughing.
Scene vi] THE SORROWS OF BELGIUM 127
Peasant
She is here again?
Chauffeur
Let me have the light!
Doctor
Very well!
Girl
Loudly.
How can I find my way to Lonua?
Emil Grelieu
Maurice, you must stop her! My child, my child!
Doctor, you —
Chauffeur
Put down the lantern ! The devil take this !
GmL
Shouts.
Hands off! No, no, you will not dare —
Maurice
You can't catch her —
The girl runs away.
128 THE SORROWS OF BELGIUM [Scene vi
Emil Grelieu
Doctor, you must catch her! She will perish here,
quick —
She runs away. The doctor follows her in the dark.
Peasant
She asked me, too, how to go to Lonua. How
am I to know? Lonua!
The girVs voice resounds in the dark and then there is silence.
Emil Grelieu
You must catch her! What is it? You must!
Maurice
But how, father?
They listen. Silence. Dull cries of a mob resound. Jeanne
breaks into muffled laughter.
Maurice
Mutters.
Now he is gone ! Oh, my Gk)d !
Chauffeur
Triumphantly.
Take your seats! Ready!
Scene vi] THE SORROWS OF BELGIUM 129
Maurice
But the doctor isn't here. Oh, my God! Father,
what shall we do now?
Chauffeur
Let us call him. Eh!
Maurice and the chaufeur call: ^^ Doctor! Eh! Langloi!"
Chauffeur
Angrily.
I must deliver Monsieur Grelieu, and I will deliver
him. Take your seats!
Maurice
Shouts.
Langloi!
A faint echo in the distance.
Come! Doctor!
The response is nearer.
Peasant
He did not catch her. You cannot catch her. She
asked me, too, about the road to Lonua. She is
insane.
Laughs.
There are many like her now.
13© THE SORROWS OF BELGIUM [Scene vi
Emil Grelieu
Imploringly,
Jeanne!
Jeanne
But I cannot, Emil. What is it? I cannot under-
stand. What is it? Where are we? My God, I
don't understand anything. I used to understand,
I used to understand, but now — Where is Pierre?
Firmly.
Where is Pierre?
Maurice
Oh, will he be here soon? Mother dear, we'll
start in a moment!
Jeanne
Yes, yes, we'll start in a moment! But I don't
understand anything. Where are we? Why
such a dream, why such a dream? I can't under-
stand! Who has come? My head is aching. Who
has come? Why has it happened?
A voice from the darkness , quite near.
Jeanne
Frightened.
Who is shouting? What a strange dream, what
Scene vi] THE SORROWS OF BELGIUM 131
a terrible, terrible, terrible dream. Where is
Pierre?
Maurice
Mother!
Jeanne
I cannot!
Lowering her voice.
I cannot — ^why are you torturing me? Where is
Pierre?
Emil Grelieu
He is dead, Jeanne!
Jeanne
No!!!
Emil Grelieu
He is dead, Jeanne. But I swear to you by God,
Jeanne! — ^Belgium will Uve. Weep, sob, you are a
mother. I too am crying with you — But I swear
by God: Belgium will live! God has given me
the light to see, and I can see. Songs will re-
sound here. Jeanne! A new Spring will come
here, the trees will be covered with blossoms — ^I
swear to you, Jeanne, they will be covered with
blossoms! And mothers will caress their children,
132 THE SORROWS OF BELGIUM [Scene vi
and the sun will shine upon their heads, upon their
golden-haired little heads! Jeanne! There will be
no more bloodshed. I see a new world, Jeanne!
I see my nation: Here it is advancing with palm
leaves to meet God who has come to earth again.
Weep, Jeanne, you are a mother! Weep, un-
fortunate mother — God weeps with you. But
there will be happy mothers here again — I see a
new world, Jeanne, I see a new life!
Curtain
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past Ufe involves him in a series of incidents which give rise to several
intensely dramatic episodes. In their development and in the philos-
ophy which Mr. Zangwill expresses through them there is much that is
highly significant.
"From Israel Zangwill one may always expect a * strong' play.
He is invariably dynamic." — Chicago Post.
The Garden of Paradise
By Edward Sheldon, Author of "Romance," "The Nigger," etc.
Cloth, i2mo, $1.25
Taking Hans Christian Andersen's fairy tale The Little Mermaid
as his basis, Mr. Sheldon tells with a great deal of charm the story of
the youngest daughter of the sea-king, who stakes everything on
winning the love of a mortal so that thereby she may share his im-
mortal soul and one day enter into the infinite garden of paradise.
That Mr. Sheldon knows how to write drama his previous contribu-
tions to the stage have proved beyond a doubt, and while the present
work is shghtly different in character from its predecessors it reveals
the same sure touch, the same understanding of the fundamentals of
dramatic technique, and in addition a poetic quaUty of no mean order.
"Mr. Sheldon has succeeded in holding the dialogue strictly in
accord with the original spirit of the story. The dramatic interest
is effected so well that one could wish that the author had had more
room to himself." — The Nation.
THE MACMILLAN COMPANY
Publishers 64-66 Fifth Avenue New Tork
A LIST OF PLAYS
Leonid Andreyev's Anathema $1.25
Sorrows of Belgium i . 25
Alice Brown's Children of Earth (Prize Play) 1.25
Thomas Hardy's The Dynasts. 3 Parts. Each i . 50
Hermann Hagedom's Makers of Madness i.oo
Henry Arthur Jones's
Whitewashing of Julia 75
Saints and Sinners 75
The Crusaders 75
Michael and His Lost Angel 75
Jack London's Scorn of Women i . 25
Theft 1. 25
Mackaye's Jean D'Arc i . 25
Sappho and Phaon i . 25
Fenris the Wolf i . 25
Mater 1.2.5
Canterbury Pilgrims 1.25
The Scarecrow . ^ i , 25
A Garland to Sylvia i . 25
John Masefield's The Tragedy of Pompey 1.25
Philip, the King 1.25
William Vaughn Moody's
The Faith Healer 1.25
Stephen Phillips' Ulysses 1.25
The Sin of David 1.25
Nero 1.25
Pietro of Siena i.oo
Phillips and Carr. Faust 1.25
Edward Sheldon's The Nigger 1.25
Romance 1.25
The Garden of Paradise i . 25
Blatrina Trask's In the Vanguard 1.25
Rabindranath Tagore's The Post Oflfice i.oo
Chitra i.oo
The King of the Dark Chamber i . 25
Robinson, Edward A. Van Zom 1,25
Sarah King Wiley's Coming of Philibert i . 25
Alcestis 75
Yeats's Poems and Plays, Vol. n, Revised Edition 2.00
Hour Glass (and others) i . 25
The Green Helmet and Other Poems i . 25
Yeats's and Lady Gregory's Unicom from the Stars i . 50
Israel Zangwill's The Melting Pot. New Edition i . 25
The War God i . 25
The Next Religion i . 25
Plaster Saints i . 25
THE MACMILLAN COMPANY
Publishers 64-66 Fifth Avenue New York
14 DAY USE
RETURN TO DESK FROM WHICH BORROWED
LOAN DEPT.
This book is due on the last date stamped below, or
on the date to which renewed.
Renewed books are subject to immediate recall.
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