Chapter II: Part 2

LUCY

What you mean?

WILLIAMS

I’m er man er my wuhd. Pay me de money an’ tek de house.

LUCY

Termorrer—

WILLIAMS

No. Termorrer won’ do.

LUCY

Why you push me so? Oh, please spar’ me an’ wait—wait anutheh day.

WILLIAMS

No, I’m er business man. I kin sell de house fer mo’ money termorrer but I hold’s to my wuhd ter sell it to you. I holds to it an’ loses money, but it falls due dis day an’ night an’ I won’ stretch it one jump er my hea’t.

LUCY

You know—de bank—ain’t open—

WILLIAMS

Sign de check fer hit. You kin do dat, cain’t you?

LUCY

I—s’pose—I—kin.

WILLIAMS

Den up an’ do hit. Heah’s er check, all wrote out but de signin’. [_She takes the check he produces._] An’ heah’s one er dese fountum pins. [_She takes the pen._] Octobeh fus’—pay to Zek’l Williams—eight hunderd dollahs. Des write “Lucy Sparrow.” [_She mechanically turns to do so._] Looks easy, sho’. But de law allows hit; dis writin’ out money. [_He pauses, then adds impressively._] Dat is, _ef_ you got de money in de bank. Co’se ef de money ain’ dah an’ you writes de check fer hit de law puts you in State prism. [_She stops and stares at him._] [_The pen falls from her hand and the check flutters to the floor._] What de matteh? You wants de house, don’ you? [_LUCY’S head sinks._] An’ you got de money, ain’ you?

MADISON

Dat’s de question. [_He comes forward out of the shadow._]

WILLIAMS

[_Seemingly observing MADISON for the first time during the evening._] Why, heighyo, Madison. I bin lookin’ fer you dis very evenin’. Whah you bin?

MADISON

Bin home.

WILLIAMS

Sho’ly not, Madison, sho’ly not all evenin’? Has you?

MADISON

Yes.

WILLIAMS

Well, ain’ dat de whu’lygig? I wuz lookin’ fer you at Pratt’s sto’ at eight o’clock an’ dey say you jes’ lef’ dah. You wuz dah, weren’t you?

MADISON

No, suh.

WILLIAMS

Well, dere I am fool agin. An’ who you think done fool me?

MADISON

Dunno.

WILLIAMS

Well, suh, ’tweren’t no one but— [_He pauses a moment._] Wilson Byrd.

LUCY

Byrd! [_Springing to her feet with the shock._]

WILLIAMS

[_After watching the two a moment._] So you ain’ got de money no mo’, is you? [_They are speechless before him._] I knows you ain’ ’ca’se I knows who _has_ got hit.

MADISON

[_Involuntarily._] Who?

WILLIAMS

I has. [_He observes them and then chuckles softly._] I has de money an’ de bargum’s closed, fer de goods is bin delivered an’ dey’re right in dis room in dat corner. One guitar at eight hunderd dollahs. Insterments comes higher’n what dey did once but you would have it an’ now you got it an’ everybody’s fixed.

MADISON

[_Groaning and bending over the table._] Oh!

WILLIAMS

Yassuh, de man what buys guitars at dat price su’tinly plays on de golden strings. Eight hunderd fer one guitar makes ’m mighty near twenty thousand dollehs er dozen. De cos’ er livin’ is shore gone up but ef you mus’ you mus’.

MADISON

Oh!

WILLIAMS

Well, I cain’ stay heah, I got er be amblin’ on. I much erblige ter you to mek youah plans to move out er heah fo’ I got ter sell de house befo’ sundown. Well, so long, an’ I hopes you gits all de good er youah high price music. [_He turns again with his feeble old man’s step toward the doorway, putting on his hat._] I wish y’all good evenin’.

MADISON

[_Moving toward him with the threatening determination of despair._] Say, I’ve got to have dat money. I sees red. I’m gone bad an’ I’ll kill befo’ I’ll lose hit.

[_WILLIAMS suddenly turns with a swiftness and agility
astounding in so old a man. Starting forward he confronts
MADISON with such dominance and fire that he seems suddenly to
tower._]

WILLIAMS

_You_ kill _me_! _You_ tek money away from _me_! Why, you po’ grain er chaff, you don’ know me. I’m a king in my own right. I got ways an’ means er pertecktin’ myse’f dat you don’ even dream on an’ I don’ need to lay a fingeh on you to do hit. Furdermo’ I could brain you wif dis stick but ef you cross me I won’ be dat easy on you. Ef you don’ wan’ wuss’n dat don’ cross me no furder er youah troubles’ll begin fer fa’r.

LUCY

Oh, please don’ lay nothin’ on him.

WILLIAMS

You po’ sufferin’ gal, I won’ lay nothin’ onto ’im but I’m a-goin’ to tek sumpin’ off’n you. I’m goin’ tek de burding er dish yere pack er laziness off’n you. An’ fus’ I wants ter show you dish yere piece er papeh. [_He produces a folded document and opens it._] Does yo’ know who wrote it? Answeh me. [_He shoves the paper under MADISON’S eye._]

MADISON

It looks like dat Wilson Byrd’s writin’.

WILLIAMS

Yassuh, an’ what’s mo’ it is dat man’s writin’. It’s his confession dat he fo’ge Lucy Sparrow’s name. I saw dat man steal my guitar an’ follered him home. Dah I grabbed him, dah I foun’ de purse wif Lucy’s name inside an’ dah I made dat thief write out his confession. Knowed so much of his meanness already dat he had to do hit. An’ now I owns you. Does you undehstan’ dat? Answeh me.

MADISON

Yas suh, no suh.

WILLIAMS

Well, I’ll take’n cl’ar up de myst’ry fer you. I got dis confession outer Byrd an’ I got other things ter prove hit an’ I kin bring him an’ you too, bofe befo’ de gran’ jury.

LUCY

Oh, my sweet Jesus, save him. [_The old man stands watching the two before him for some time in silence. LUCY falls on her knees before him._] Oh, don’t sen’ Madison to de lawyers.

WILLIAMS

No, Lucy, I ain’ wishful ter.

LUCY

You won’t?

WILLIAMS

Mebbe not. But fus’, les’ put all dis talk aside dat I bin talkin’ up to now. I bin puttin’ on an’ pretendin’ in ordeh ter try you bofe an’ sif’ de chaff from de grain in you. I des bin playin’ wif you ter see how good you is an’ how ornry dish yere man er youahn is. Yit I’ll take an’ give him er chance even so, an’ I’ll pluck him f’um de bu’nin’ ef he follers de paf I p’ints out ter him. But we all got ter have cl’ar unde’stan’in’ ’bout dat. Fus’ an’ fo’mos’ youah money is all safe wif me. De house is youah’n.

LUCY

You means you sell it fer de money.

WILLIAMS

In co’se. You didn’t speck I’d steal too, like a w’ite man, did you? I’ll fetch you de deeds fo’ hit fus’ thing in de mo’nin’.

LUCY

Oh, fu’give me, I was all mix up. But you won’ sen’ Madison to de gran’ jury neitheh?

WILLIAMS

I say I ain’ honin’ ter.

LUCY

Oh, my Makeh, I thank Thee fo’ Thy mercy.

WILLIAMS

But I shorely goin’ to put dis man er youah’n th’oo er tes’ ter see whetheh he’s fitten ter keep out er jail. Madison, will you tek er tes’?

MADISON

[_Humbly._] Yassuh. What is it?

WILLIAMS

A guitar.

MADISON

A guitar!

WILLIAMS

Yassuh, dat’s hit, no mo’ ner no less. I’m goin’ give you dat guitar—but—dere’s suhtinly goin’ to be a string tied to it. You kin take dat guitar but you got to make somethin’ outer yourself wif her or back she’ll come to me. You kin give lessons an’ learn folks music or you kin write down de music you make, but you got to do somethin’ wif it fer Lucy. You got to wake up or I’ll take de guitar. Which’ll it be? Make youah choice.

MADISON

[_Crushed._] I’ll—keep de guitar.

WILLIAMS

An’ dat ain’ all. You got ter quit runnin’ wif Byrd an’ Byrd wif you, you got ter be a better husban’ an’ you got to min’ everything Lucy tells you. Will you do hit?

MADISON

Yassuh.

WILLIAMS

An’ yo’ ain’ much of er temp’unce man neitheh, is you, Madison?

MADISON

I’s a temp’unce man but I ain’ no frantic.

WILLIAMS

Well, suh, you got ter jine de frantics now. No dram drinking at all. Will you quit hit er go ter jail?

MADISON

I’ll quit.

WILLIAMS

Well, dat’s on’y a promise but I’ll shore hol’ you to hit er put you behin’ de bahs. Why, look heah, man, does you know how you stan’ ’pon top er dis yu’th? Does you know how you liken to er tree? ’Sposin’ sumpin’ wif er cool eye like er tree could see you an’ talk. I cain’ jedge you ca’m but er tree could. Tree would look at you an’ say, “Does dat ’ere man wu’k?” Win’ ’ud whispeh, “No.” “Do he eat?” “Yas ’n git fat,” respon’ de win’. “Who shines on him?” “His wife,” win’ say. “Do he put fo’th flower an’ bless de wife?” say de tree. “No.” “Do he give shade an’ shelteh ter de wife?” say de tree. “No.” “Well, chop’m down an’ bu’n him befo’ he rots,” say de tree. “Dat’s all.” But mebbe I kin mek mo’ of him dan dat an’ so I’ll try prunin’ him an’ graftin’ some good labeh onto him. An’ I kin’ er think hit’ll save him yit. Well’m, I must be er goin’ now. Hit’s late an’ I mus’ git my res’ fer I got to do a lot er bossin’ termorrer an dat’s allers ha’d fer me. Lucy, I’ll fetch you de deeds ter de house befo’ nine termorrer an’, Madison, you kin repo’t to me at eight o’clock sha’p an’ give my little boy a lesson on de guitar. You’ll be dah, won’t you?

MADISON

[_Meekly._] Yassuh.

WILLIAMS

Ready to whu’l in an’ scratch.

MADISON

Yassuh.

WILLIAMS

Well den, les’ all shek han’s on de noo nes’ an’ de noo aig. [_They shake hands. He puts on his hat and turns to the door._] An’ dat remin’s me, Lucy, you better tell Madison to play on dat guitar a plenty tonight because he’ll need music fer to stan’ up undeh all de lessons I’m goin’ to lay onto him. Well, I wish you good night. I’m er gittin’ kin’er ole an’ I cain’ stay up late no mo’ without bein’ crosser in de mornin’. Good night den an’ far’ you well bofe. Eight o’clock, Madison. Good night.

[_He goes, closing the door after him. The pair stand silent
for a moment, MADISON with hanging head and in deep dejection._]

LUCY

[_Throwing her arms around him._] Oh, my husban’, I’ll pray fer you. Don’ sorrer now. Git youah res’ tonight. We kin be hones’ now. We’ve got de house at las’ an heah’s de guitar.

MADISON

Yassuh, heah’s de guitar. [_He plays it and fondles it. Then his face assumes again its melancholy look._]

LUCY

What’s de trouble?

MADISON

I don’ undehstan’ dis worl’. If I wants to make music why cain’t folks lemme alone to make music? If I dream a fine dream why is it I always wake up? Looks to me like somebody’s always tryin’ to crowd me out an’ git me in a tight place.

LUCY

You wuz doin’ all right till you got mix up wif dat white man an’ his tricks. De trouble wuz dat dis dream of youahs wuzn’t a good dream.

MADISON

Yes, but not all of my dreams is bad ones. All, I wants is room to dream my good dreams an’ make my own music.

CURTAIN

SIMON THE CYRENIAN

NOTE.—Although Cyrene was in northern Africa, the wall-paintings in the vast Cyrenian tombs depict black people instead of brown.

That Jesus’ cross-bearer was a black man, as the early painters represented him, is a fact that holds a certain suggestion bearing upon a phase of modern society.

It has been the author’s design that all the characters in this play should be represented by persons entirely or partly of Negro blood; and this intention has been carried out in the original stage production. Simon is a full-blooded Negro, Battus is a little less dark, Acte is a mulatto as were most Egyptians of the later dynasties. Her attendants comprise both mulattoes and Negroes. The Roman characters are played by persons of slighter negroid strain.

SIMON THE CYRENIAN

And as they led him away they laid hold upon one Simon, a Cyrenian, ... and on him they laid the cross that he might bear it after Jesus.

Luke 23, 26.

PERSONS OF THE PLAY

PROCULA, the wife of Pilate
DRUSUS, a young Roman
ACTE, Princess of Egypt
BATTUS, a Libyan prince, a boy
SIMON
PILATE, governor of Judea
BARABBAS, an insurrectionist
THE MOCKER WITH THE SCOURGE
THE MOCKER WITH THE SCARLET ROBE
THE MOCKER WITH THE CROWN OF THORNS
A CENTURION
LONGINUS, a soldier
PROCULA’S ATTENDANTS
ACTE’S ATTENDANTS
SOLDIERS

TIME—The day of the Crucifixion of Jesus of Nazareth

SCENE: _A garden of Pilate’s house at Jerusalem. The whole
scene is strictly Roman, softened by its eastern location and
by the beginnings of Rome’s decadence, but there is no trace
of Judean influence. At the back there is a gallery or raised
portico reaching entirely across the garden. It is roofed but
open and beyond it the morning sky is seen. This passageway,
which will be called the portico, leads from the Praetorium
on the left to other buildings on the right. The garden has
entrances toward the back at both left and right. At the left,
near the front, a narrow portion of the façade of Pilate’s
house is seen, with a doorway reached by three steps. At the
right of the garden, near the front, there is a wall fountain.
There is a marble seat at back centre. All the architecture is
of mellow marble as dark as alabaster._

[_As the curtain rises PROCULA is discovered upon the steps
of her house. She is in an extreme state of agitation. Her
attendants are in the garden. The sound of a mob, with cries of
“Crucify him,” “To the Place of the Skull,” “On to Golgotha,”
etc. is heard at the rise of the curtain and at intervals
throughout the play._]

PROCULA

Go! Go, send more messengers. Ah, Hera, help me.

[_A MESSENGER runs into the garden from the right and kneels
before her, breathless._]

PROCULA

Has Simon the Cyrenian been found?

MESSENGER

The swiftest horseman reached him. He is nearing the city.

PROCULA

Hasten him. Bring him. Your freedom for it. [_The MESSENGER hurries out._]

PROCULA

[_To ATTENDANTS._] Is there no news yet?

ATTENDANT

One messenger has not returned. He who was sent to the royal woman of Egypt.

PROCULA

Send others after him, take wings. [_DRUSUS enters the garden from the left._] Drusus! Help me draw him swiftly.

DRUSUS

The wife of Pilate speaks. Whom shall I send to her?

PROCULA

Too late, too late. I speak foolishly. I have already sent.

DRUSUS

You are tormented.

PROCULA

Are mine the only eyes that see the doom unrolling?

DRUSUS

You speak strangely.

PROCULA

The Furies whip me.

DRUSUS

Tell me your secret.

PROCULA

This Jesus the Nazarene—

DRUSUS

You need not fear him. He is in Pilate’s hands.

PROCULA

Out of that is my agony. Ah, my dream.

DRUSUS

Dreams?—

PROCULA

Did you feel the earth heave last night?

DRUSUS

I was drinking at Herod’s palace.

PROCULA

Trees groaned, the statues shuddered, the fountains dried, the walls sweated, a red dew fell in the gardens.

DRUSUS

I felt nothing. I saw nothing.

PROCULA

I saw—I cannot tell it. Horror was heaped on horror.

DRUSUS

You dreamed of this Nazarene?

PROCULA

Of him. He must not die. I begged his life of Pilate but he fears the Jews. Help me.

DRUSUS

Help you? How?

PROCULA

Bring Simon the Cyrenian.

DRUSUS

That tiger?

PROCULA

I heard many voices in my dream and one voice cried, “Simon the African shall bear the burden.”

DRUSUS

You have not felt his claws.

PROCULA

Then you too believe him dangerous?

DRUSUS

The most dangerous man in the empire.

PROCULA

Dangerous to Romans, it may be, but—

DRUSUS

[_Scornfully._] The friend of slaves! Wherever he goes insurrection follows him. He was the secret leader of last year’s armed uprising in Rome when thirty thousand perished. He hollows out the empire with sedition.

PROCULA

A stronger man than Rome.

DRUSUS

His influence spreads through the provinces. He plans world empire, undermining Rome. Cæsar has been warned of him, but is afraid or listless.

PROCULA

[_Half to herself._] Surely such power should avail to save one life.

DRUSUS

There is a rumour that he was here two nights ago to renew the insurrection of Barabbas. We had spies set upon him.

PROCULA

Does he fear spies? I have sent for this man. If the Nazarene is condemned Simon must kindle riot and take him from the soldiers.

DRUSUS

Will the wife of Pilate breed rebellion to Rome?

PROCULA

It is for Rome’s sake and in my extremity. What singing is that? I heard it in my dream.

[_During the last few speeches a marching song by men’s and
women’s voices is heard off left, at first faintly then,
growing louder; the words are indistinguishable._]

DRUSUS

The air is African.

PROCULA

May it be Simon.

DRUSUS

[_Looking off left._] A litter with Ethiopian bearers.

PROCULA

Ethiopians! It is the Egyptian. [_DRUSUS starts to go off right._]

PROCULA

Though I sent for her I fear her. Stay with me.

DRUSUS

I cannot. I bear word from Pilate to Herod. [_He goes off right. A HERALD in Egyptian dress enters from left._]

THE HERALD

Acte of Egypt to the wife of Pilate.

[_The voices off left are heard approaching and singing
the tune that today is known as the Negro spiritual “Walk
Together, Children.” ACTE enters from left walking with her
litter-bearers and women. With her is BATTUS, a boy of ten._]

ACTE

The wife of Pilate sent to me?

PROCULA

For Simon the Cyrenian. Men say you are his friend.

ACTE

I have come here to find him.

PROCULA

He is not here.

ACTE

If his mood holds he will not fail to come since you have sent for him. Your men have told me that he nears the city.

PROCULA

Oh, help me rouse him when he comes.

ACTE

What is your need?

PROCULA

A hidden service.

ACTE

You ask my aid? Then trust me.

PROCULA

[_Coming down close to ACTE and speaking in a low voice._] Jesus the Nazarene must not die.

ACTE

Has he been doomed?

PROCULA

Not yet. But if—

ACTE

Are you not Pilate’s wife?

PROCULA

He fears the Jews.

ACTE

And Simon?

PROCULA

If Jesus is condemned Simon must seize him.

ACTE

Never.

PROCULA

It must be done. I beg you help me.

ACTE

This Nazarene has no friend in me.

PROCULA

And you have never seen him.

ACTE

No, but I suffer much because of him.

PROCULA

And I. Jesus must live. Oh, move Simon to strike.

ACTE

More lives than this magician’s wait on Simon. [_An ATTENDANT of PROCULA enters from left._]

ATTENDANT

[_Calling._] Pilate has gone up toward the Judgment Hall.

PROCULA

Beg him to stay for me, for one word more. I’ll follow. [_ATTENDANT goes out left. To ACTE._] Command my household, wait here for Simon. [_Seizing ACTE and pointing toward the Judgment Hall._] In there and at this hour the fate of earth and heaven dangles in the hands of blind men. Tell Simon this, see that his eyes are open.

[_PROCULA hastens into her house. During Procula’s words one
of Acte’s ATTENDANTS, who has strayed off right has reëntered,
looking off._]

ATTENDANT

Lord Simon rushes toward this place.

ACTE

Make ready all.

[_Her tire-women attend her and her men stand looking
expectantly off right. SIMON enters from right. He is a Negro
of majestic bearing, with a sad, severe countenance. He is
dressed as a soldier._]

SIMON

Egypt!

BATTUS

[_Rushing joyfully toward SIMON._] Simon, Simon.

SIMON

Battus, Royal Battus. [_He embraces the boy._]

BATTUS

You have been long away.

SIMON

Not so long as to have forgotten Battus.

BATTUS

And have you forgotten Cyrene and Egypt and our kingdom of the free? [_ACTE hushes the boy, looking apprehensively about._]

SIMON

No, Battus.

ACTE

[_To her ATTENDANTS._] Take the boy deeper in the garden. Wait there till I call him. [_The ATTENDANTS lead BATTUS off left._]

ACTE

[_Moving swiftly to SIMON._] You are in danger here. What sorcery called you back?

SIMON

Where is the wife of Pilate?

ACTE

She is asleep—or she listens to the harp.

SIMON

Why are you here?

ACTE

I came to meet you. Why did you return?

SIMON

Messengers from the wife of Pilate reached me.

ACTE

What spell is on you, you who were never trapped? This is the wolf’s own mouth. You tempt it to close upon you.

SIMON

The tiger’s blood is never lapped by wolves.

ACTE

Many can pull down one. Go back.

SIMON

When is the Nazarene to be tried by Pilate?

ACTE

So, I have found the hunter that has snared you.

SIMON

When is he to be tried?

ACTE

Who knows? Tomorrow. Perhaps never.

SIMON

Today, the message said.

ACTE

Perhaps this afternoon. Oh, Simon, wake. Shake off this net of dreams. How were you taken in it?

SIMON

I am not taken.

ACTE

You have seen this Nazarene?

SIMON

I saw him.

ACTE

When?

SIMON

Two nights ago.

ACTE

After you left me.

SIMON

Afterward. I had summoned to a garden
The bravest of the slaves to help them plan
A new sedition that would free Barabbas.
There as I roused the jungles against Rome
I saw lights in another part of the garden,
I saw men come with torches and seize a man.
I hurried near and through the olive leaves
His eyes looked into mine,
His eyes burned into mine. I have seen them since,
Waking or sleeping.

ACTE

You followed him?

SIMON

No, and none saw me. I turned back through
the shadows and joined my men.

ACTE

And did you plot again that night?

SIMON

My thoughts went wide. My words were broken.
I told the slaves to wait till my next coming.
Then, before dawn, I set out for the sea.

ACTE

Oh, my Cyrenian, where is that fierce blood
That poured out from your heart fires to burn Rome?

SIMON

My spirit is fiercer than it was before,
The groans of the oppressed louder than ever.

ACTE

Then why have you turned back?

SIMON

I have seen the whole world’s sorrow in one man’s eyes.

ACTE

What does it mean? You are changed.

SIMON

There as I looked upon him in the garden
A wound came in my side like a spear’s thrust,
Bleeding for him.

ACTE

Is this all you know of him?

SIMON

As I went seaward
I met men coming to the yearly feast.
These told me of his works, they spoke of marvels,
Of healings and of resurrections.
He suffers the old wrong of the downtrodden.

ACTE

Are there no wrongs then in our Africa?

SIMON

The whole earth groans beneath the persecuted;
The outcast, the despised cry out to me.

ACTE

And you whom they trust to save them turn aside
To this one man.

SIMON

I have not turned aside, yet I may help him.

ACTE

Go back. Your peril grows. You will be trapped.

SIMON

Rome cannot take me.

ACTE

It is not Rome I fear but this Judean.

SIMON

[_Moving toward the doorway of Pilate’s house._]

Why does the wife of Pilate stay,
Having summoned me with horsemen?

ACTE

[_Going with him._] Doubtless she forgets.
Her whims are many.

SIMON

I must hear from her
What they have done with him.

ACTE

[_Placing herself before him._] Simon!
Mists are before your eyes,
Mists of forgetting.

You have forgotten Battus and all your holy vows before the priests of Libya and Egypt to bring him back to Africa Rome’s conqueror.

[_She calls off left to BATTUS. The ATTENDANTS enter with him._]

Come, lad, sit here. [_She leads him to a seat at centre._] Let’s play at worlds for Simon. Who are you?

BATTUS

I am Battus.

ACTE

And who is Battus?

BATTUS

Son of Cyrenian kings and kings of Egypt,
Son of all Africa.

ACTE

Who shall be your army?

BATTUS

The slaves of Rome.

ACTE

Who shall lead them up to victory?

BATTUS

Simon and I.

ACTE

And then?

BATTUS

They shall be free. All wrongs shall be righted.
The great shall be brought low, the lowly raised.

ACTE

How shall we reach our own?

BATTUS

Through blood and fire.

ACTE

Who shall be our own?

BATTUS

All those who suffer wrongs, the poor, the captives.

ACTE

[_To SIMON._] What do you say, now you have heard the faith he lives by?

SIMON

Oh, I have not forgotten. We shall go forward.

ACTE

To triumph.

SIMON

Yes, to triumph.

ACTE

Through fire and blood.

SIMON

Through fire and blood.

ACTE

Ah, I have never doubted the fierce heart in you. Never be tamed.

[_PROCULA appears in her doorway. ACTE sees her and moves
apprehensively aside. PROCULA sees SIMON._]

PROCULA

You are the Libyan captain?

[_ACTE waves BATTUS and her attendants off left._]

SIMON

The wife of Pilate sees him.

PROCULA

[_Going swiftly to him._] You have seen Jesus the Nazarene?

SIMON

I have seen him.

PROCULA

Save him.

SIMON

When is he to be tried?

PROCULA

He has been tried.

SIMON

[_To ACTE._] Who has deceived me? [_To PROCULA._] Has he been condemned?

PROCULA

Not yet, not yet.

SIMON

Your husband holds him.

PROCULA

I have no power in this.

SIMON

You sent for me.

PROCULA

Save this one man. I know your power.

ACTE

Remember Cyrene, Egypt and our world, Battus and Africa.

SIMON

Their roots are in my heart.

ACTE

Then come away with me.

SIMON

My breast can nourish both this Judean and our kingdom.

ACTE

No, for this man’s spirit threatens to overcome you; they have called him king; there cannot be two kings, and you the lesser, in the world we plan.

SIMON

Not that he is a king but that he is a captive my heart flows most to him.

ACTE

Legions of captives in the empire wait for you to set them free. Shall you yourself be captive?

PROCULA

He was betrayed.

ACTE

[_To SIMON._] Look to it that you are not yourself betrayed by him.

PROCULA

Herod mocked him.

ACTE

[_To SIMON._] If you are now led astray you mock our Africa and the new world we plan there.

SIMON

Plan no more worlds if this man is destroyed. But he shall conquer Pilate.

PROCULA

Save him. Waken the mob. Breed riot. Take him from the soldiers.

[_She suddenly looks upward off left back and gives a cry._]

Pilate ascends to the outer judgment seat.

[_She rushes to SIMON._]

Burn the city if he is condemned.

[_SIMON stands brooding motionless. PROCULA runs toward her
doorway._]

I’ll send to Pilate even on the judgment seat.

[_She rushes into her house. SIMON moves after her as though he
would follow._]

ACTE

[_Recalling him by a touch so that he turns._] The time is not yet ripe. A new sedition now suddenly bursting would dash down all our dreams.

SIMON

Pilate at last will listen. With such a pleader the Sufferer is safe.

ACTE

You are taken in this soothsayer’s mesh.

SIMON

He has not spoken to me.

ACTE

Has he not led you?

SIMON

He leads me most who suffers most injustice.

ACTE

And on that night when you were first led captive
The lonely lions and the Libyan moon
Watched over Africa, faithful to her,
When you grew faithless.

SIMON

Africa shall triumph. This man, not I, not Battus, shall restore her.

ACTE

If Pilate pleases.

SIMON

He shall conquer Pilate.

ACTE

Shall he indeed?

SIMON

What’s there?

[_A loud murmur of many voices has been heard at intervals in
the Praetorium at left back during the past scene. This murmur
has now increased into a roar out of which the cry “Crucify
him! Crucify him!” rises. The cries and the roar suddenly
become triumphant as SIMON listens. Then from the entrance at
right there appears a fantastic impish figure bearing a great
scourge. He is followed by another bearing a gorgeous scarlet
robe and by a third bearing upon a cushion a crown of thorns._]

SIMON

What are these?

THE MOCKER WITH THE SCOURGE

A scourge for a prophet.

THE MOCKER WITH THE CROWN OF THORNS

A crown of thorns for a king.

THE MOCKER WITH THE SCARLET ROBE

A scarlet robe for a saviour.

[_The mockers cross the garden and disappear at left back.
SIMON watches them motionless and transfixed by their sinister
meaning as it begins to dawn upon him. PILATE appears in the
upper portico at back left. He enters walking slowly backward
and looking off left with evident horror. A wailing is heard
off left, it grows and PROCULA enters from her doorway._]

PROCULA

Woe, woe, the air is bleeding, the doom has fallen.

O Pilate, you have judged a world and doomed it.

Your hands are bloody; wash them again, wash them.

[_PILATE glances at her and then motions, looking off to the
left. A slave appears with him on the portico bearing a basin
of water. PILATE washes his hands and then goes off left._]

PROCULA

[_Going to SIMON who stands motionless._] What will you do now, now that he is condemned?

[_A man enters slowly from the right. He halts just within the
garden seeing SIMON. The newcomer is gaunt and haggard._]

SIMON

[_Suddenly seeing him._] Barabbas! [_Running to ACTE._] Look to the lad, lead him to safety. We’ll fire the city. Hide with him till I join you. The temple shall be in flames before they lead the Nazarene past it. [_ACTE leading BATTUS and her people hurries out left. SIMON rushes to BARABBAS, speaking swiftly._] Go where the arms are stored. Give the slaves weapons and torches. Rouse all, arm all, stand by me to free the Nazarene. I’ll lead his friends. Bring the slaves quickly. Strike, give all the signal. [_BARABBAS stands motionless._] Go.

BARABBAS

[_In a dull monotonous voice._]
All’s done, all’s one, whether men live or die.
Who can withstand Rome? They tortured me.
My spirit is broken. I have been all night
Watching this one that would have saved the world
Scourged with me in the prison.
He is a god but men have conquered him.
They freed me in his place, the dead for the living.
There are no more gods left now in the sky
And on the earth nothing but dead men crawling.

SIMON

You stay? You hang back?

BARABBAS

My spirit is poisoned. I die soon.

SIMON

Then die for the living.

BARABBAS

There are none left alive.

[_As he speaks the tops of three crosses and three Roman
standards are seen against the sky at back, beyond the portico,
as they are borne slowly in procession from left to right. As
they pass, the wailing of women’s voices is heard interspersed
with the angry murmur of a crowd and cries of “Crucify him!”_]

BARABBAS

[_Pointing to the crosses._]
There goes the cross now for the god to hang on,
That’s the dead tree to bear the dead world’s fruit.

SIMON

So we must stand alone. They yell for blood.
Now they shall drown in a red sea of it.
He shall pass over safely, walking on dead men.

[_He draws his sword and rushes off right. BARABBAS stands
unmoved. PROCULA runs to right entrance staring off after
SIMON._]

PROCULA

The gods fight with you now, invisible shapes
Rush forward with you. See how cloud-like armies
Redden the air. Lead them and seize him.

[_There is a pause, then she retreats slowly from the entrance,
and SIMON re-enters stepping slowly backward as though dazzled
by a vision. As he reaches the middle of the garden a
wonderful voice is heard proceeding from the direction in which
he looks._]

THE VOICE

Put up the sword. For they that take the sword shall perish with the sword. [_The sword falls from SIMON’S hand._]

THE VOICE

Do not resist evil.

[_There is a moment’s pause and then a CENTURION enters from
the right and goes menacingly up to SIMON._]

THE CENTURION

Who are you that you rush against legionaries? Have you an army that you come against us? Are you a madman? Are you also one of his followers?

SIMON

[_Slowly._] I am his follower. [_PROCULA, wailing, rushes into her house._]

THE CENTURION

[_Turning and calling to someone off right._] Ho, Longinus, come; here is another. [_To SIMON._] What is your name and place?

SIMON

Simon, a man of Cyrene.

[_LONGINUS enters from the right accompanied by several other
legionaries._]

LONGINUS

[_To the CENTURION._] The Nazarene has fallen. The cross crushes him. He can go no further.

THE CENTURION

Here’s one to bear it, bring it in the garden.

[_LONGINUS goes out right. The CENTURION and legionaries
surround SIMON and strip him of his outer garments. When they
have done so the MOCKER WITH THE SCOURGE enters from the right
waving the scourge threateningly, looking off as he enters. He
turns and dances about SIMON._]

THE MOCKER WITH THE SCOURGE

Prophesy, prophesy. Who is it now that strikes you? Turn the other cheek.

[_The mocker strikes SIMON. With a powerful movement SIMON
seizes the mocker, hurls him to the ground and snatching his
sword which the soldiers have placed upon a bench he clears a
space about him and starts again toward the right entrance._]

THE VOICE

Overcome evil with good. Forgive your enemy.

[_SIMON bows his head, then extends the hilt of his sword to
a soldier who takes it and strikes him with the flat of the
blade. SIMON submits, dumbly, with bowed head, to this and to
the MOCKER WITH THE SCOURGE who rises painfully from the ground
and again strikes him viciously._]

THE MOCKER WITH THE SCOURGE

Turn the other cheek.

[_He takes a rope from his girdle and making a noose in it puts
the noose over SIMON’S head and dances about him holding the
rope’s end. THE MOCKER WITH THE ROBE enters from the right._]

THE MOCKER WITH THE ROBE

Here is the scarlet robe, it fell from the King’s shoulders, Jesus of Nazareth, the King of the Jews. Of such are the Kingdom of Heaven. [_He places the robe on SIMON._]

Hail to the new king, Simon of Cyrene,
King of the Africans, with his Master’s robe.

[_The wailing of women outside has risen in a strain of wild
and profound melancholy. It is broken by a woman’s scream._]

THE VOICE

Daughters of Jerusalem, weep not for me, but weep for yourselves and for your children. For if they do these things in a green tree what shall be done in the dry?

[_THE MOCKER WITH THE CROWN OF THORNS enters from right._]

THE MOCKER WITH THE CROWN OF THORNS

Ho, another king, another saviour. Solomon in all his glory was not arrayed like one of these. Let him be crowned. Blessed are the meek.

[_He snatches off SIMON’S head-dress, throwing it on the
ground. He pretends to place the thorn crown on SIMON’S head,
and then throws it contemptuously at his feet. The legionaries
enter with the cross._]

THE VOICE

If any man will come after me let him take up the cross and follow me.

[_The legionaries place the cross upon SIMON. He bends beneath
it and picking up the crown of thorns places it upon his head._]

SIMON

I will wear this, I will bear this till he comes into his own.

CURTAIN

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The principal characters are Geoffrey Chaucer; Alisoun, the wife of Bath; Madame Eglantine, the prioress, and Johanna, Marchioness of Kent. The time of the action is in April, 1387, and the scenes are the Tabard Inn, Southwark, another tavern on the road, and the exterior of Canterbury Cathedral. The story, which is entertaining from first to last, has to do with Chaucer’s adventure with the wife of Bath and his love for the prioress.

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