MAN (kissing her hand)
Go, you're the most beautiful woman I've ever known.
WIFE
And the wrinkles?
MAN
What wrinkles? I only see a dear, kind, good, sensible face. Nothing else. Don't take offence at my stern tone. Go to the boy, watch him, stay with him like a quiet shadow of gentleness and love. And if he is disturbed in his sleep, sing him a song as you used to do. And put the grapes nearer, so that he can reach them.
[The Wife goes out. Man lies down on the sofa, his head toward the spot where Someone in Gray stands immobile, so that His hand almost touches Man's gray, dishevelled hair. Man falls asleep quickly.
SOMEONE IN GRAY
Man has fallen into a sound, sweet sleep, deceived by hope. His breath is soft as a child's, his heart beats calmly and evenly, bringing him relief. He knows not that in a few moments his son will die. In mysterious dream-fancies a picture of impossible happiness arises before him.
It seems to him that he and his son are drifting in a white boat along a beautiful, quiet stream. It seems to him that it is a glorious day, and he sees the deep sky and the transparent crystal water. He hears the rustling of the reeds as they part before the boat. It seems to him that he is happy and glad. All his feelings betray him.
Suddenly he is disturbed. The terrible truth has entered through the thick veil of sleep and stung his thoughts.
"Why is your golden hair cut so short, my boy? Why?"
"I had a headache, papa, that's why."
And deceived once more, he feels happy again, sees the deep sky, and hears the rustling of the parting reeds.
He knows not that his son is already dying. He hears not how, in a last senseless hope, with a child's faith in the power of adults, his son is calling him without words, with his heart: "Papa, papa, I am dying! Hold me!" Man sleeps soundly and sweetly, and in the deceptive, mysterious fancies there arises before him the picture of impossible happiness. Awake, Man! Your son is dead.
[Man lifts his head, frightened, and rises.
MAN
Ha! What is it? I thought I heard someone call me.
[At that moment many women behind the scenes burst into a wail—the loud, long-drawn wail over the dead. The Wife enters, frightfully pale.
MAN
Dead?
WIFE
Yes, he is dead.
MAN
Did he call me?
WIFE
No, he never awoke. He didn't call anyone. He is dead—my son, my dear, darling boy!
[She falls on her knees before Man and sobs, clasping his knees. Man puts his hand on her hand and, turning to the corner where Someone in Gray stands indifferently, speaks in a sobbing, but terrible voice.
MAN
You insulted a woman, scoundrel! You killed a boy! (His Wife sobs. Man softly strokes her hair with his trembling hand) Don't cry, my dear, don't cry. He will scoff at our tears, just as He scoffed at our prayers. And you—I don't know who you are—God, Devil, Fate, or Life—I curse you!
[Man speaks the following in a loud, powerful voice, one arm about his wife as if to protect her, the other arm fiercely extended toward the Unknown.
MAN'S CURSE
I curse everything that you have given. I curse the day on which I was born. I curse the day on which I shall die. I curse the whole of my life, its joys and its sorrows. I curse myself. I curse my eyes, my ears, my tongue. I curse my heart and my head, and I fling everything back at your cruel face, a senseless Fate! Be accursed, be forever accursed! With my curses I conquer you. What else can you do to me? Hurl me to the ground, I will laugh and shout in your face: "Be accursed!" Seal my mouth with the clamps of death, with my last thought I will shout into your stupid ears: "Be accursed, be accursed!" Take my body, tear at it like a dog, drag it into the darkness—I am not in it. I have disappeared, but disappearing I shall repeat: "Be accursed, be accursed!" Through the woman whom you have insulted, through the boy whom you have killed, I convey to you the curses of Man!
[He turns in silence, with fiercely uplifted hand. Someone in Gray listens passively to the curses. The flame of the candle flickers as if blown by the wind. Thus they stand for some time in tense silence confronting each other, Man and Someone in Gray. The wailing behind the scenes grows louder and more prolonged, passing into a doleful chant.
THE FIFTH SCENE
THE DEATH OF MAN
An uncertain, unsteady, blinking light, so dim that at first nothing is distinguishable. When the eye grows accustomed to it, the following scene becomes visible.
A long, wide room with a very low ceiling and windowless. The entrance is down a flight of steps from somewhere above. The walls are bare and dirty and resemble the coarse, stained hide of some huge animal. Along the entire back wall up to the stairs runs a, bar with a top of smooth glass. This is covered with bottles full of differently colored liquors that are arranged in regular rows. Behind a low table sits the Bartender, immobile, with his hands folded across his paunch. His white face is blotched with red. His head is bald, and he has a large, reddish beard. He wears an expression of utter calm and indifference, which he maintains throughout, never changing his seat or his attitude.
Drunkards, both men and women, sit at small tables on wooden stools. Their number seems to be augmented by their shadows dancing on the walls and ceiling.
It is one endless monotony of repulsive ugliness and desolation. The men's faces resemble masks with the various features disproportionately magnified or reduced: big noses, or no noses at all; eyes staring savagely, almost starting from their sockets, or eyes narrowed to scarcely visible slits and points; huge Adam's apples and tiny chins. Their hair is tangled, frowzy, dirty, covering half the face on some of them. Despite their differences, a horrible sameness is stamped upon their faces: a greenish, ghastly tinge of decay and an expression that appears grotesque in some, gloomy and stupidly timid in others.
They are dressed in dull rags, with
