Three Plays. Luigi Pirandello
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STEP-DAUGHTER. Yes, yes. True. He used to follow me in the street and smiled at me, waved his hand, like this. I would look at him with interest, wondering who he might be. I told my mother, who guessed at once (the Mother agrees with a nod). Then she didn't want to send me to school for some days; and when I finally went back, there he was again—looking so ridiculous—with a paper parcel in his hands. He came close to me, caressed me, and drew out a fine straw hat from the parcel, with a bouquet of flowers—all for me!
THE MANAGER. A bit discursive this, you know!
THE SON (contemptuously). Literature! Literature!
THE FATHER. Literature indeed! This is life, this is passion!
THE MANAGER. It may be, but it won't act.
THE FATHER. I agree. This is only the part leading up. I don't suggest this should be staged. She (pointing to the Step-Daughter), as you see, is no longer the flapper with plaits down her back—.
THE STEP-DAUGHTER. —and the knickers showing below the skirt!
THE FATHER. The drama is coming now, sir; something new, complex, most interesting.
THE STEP-DAUGHTER. As soon as my father died. …
THE FATHER. —there was absolute misery for them. They came back here, unknown to me. Through her stupidity (pointing to the Mother)! It is true she can barely write her own name; but she could anyhow have got her daughter to write to me that they were in need. …
THE MOTHER. And how was I to divine all this sentiment in him?
THE FATHER. That is exactly your mistake, never to have guessed any of my sentiments.
THE MOTHER. After so many years apart, and all that had happened. …
THE FATHER. Was it my fault if that fellow carried you away? It happened quite suddenly; for after he had obtained some job or other, I could find no trace of them; and so, not unnaturally, my interest in them dwindled. But the drama culminated unforeseen and violent on their return, when I was impelled by my miserable flesh that still lives. … Ah! what misery, what wretchedness is that of the man who is alone and disdains debasing liaisons! Not old enough to do without women, and not young enough to go and look for one without shame. Misery? It's worse than misery; it's a horror; for no woman can any longer give him love; and when a man feels this … One ought to do without, you say? Yes, yes, I know. Each of us when he appears before his fellows is clothed in a certain dignity. But every man knows what unconfessable things pass within the secrecy of his own heart. One gives way to the temptation, only to rise from it again, afterwards, with a great eagerness to reestablish one's dignity, as if it were a tomb-stone to place on the grave of one's shame, and a monument to hide and sign the memory of our weaknesses. Everybody's in the same case. Some folks haven't the courage to say certain things, that's all!
THE STEP-DAUGHTER. All appear to have the courage to do them though.
THE FATHER. Yes, but in secret. Therefore, you want more courage to say these things. Let a man but speak these things out, and folks at once label him a cynic. But it isn't true. He is like all the others, better indeed, because he isn't afraid to reveal with the light of the intelligence the red shame of human bestiality on which most men close their eyes so as not to see it.
Woman—for example, look at her case! She turns tantalizing inviting glances on you. You seize her. No sooner does she feel herself in your grasp than she closes her eyes. It is the sign of her mission, the sign by which she says to man: "Blind yourself, for I am blind."
THE STEP-DAUGHTER. Sometimes she can close them no more: when she no longer feels the need of hiding her shame to herself, but dry-eyed and dispassionately, sees only that of the man who has blinded himself without love. Oh, all these intellectual complications make me sick, disgust me—all this philosophy that uncovers the beast in man, and then seeks to save him, excuse him … I can't stand it, sir. When a man seeks to "simplify" life bestially, throwing aside every relic of humanity, every chaste aspiration, every pure feeling, all sense of ideality, duty, modesty, shame … then nothing is more revolting and nauseous than a certain kind of remorse—crocodiles' tears, that's what it is.
THE MANAGER. Let's come to the point. This is only discussion.
THE FATHER. Very good, sir! But a fact is like a sack which won't stand up when it is empty. In order that it may stand up, one has to put into it the reason and sentiment which have caused it to exist. I couldn't possibly know that after the death of that man, they had decided to return here, that they were in misery, and that she (pointing to the Mother) had gone to work as a modiste, and at a shop of the type of that of Madame Pace.
THE STEP-DAUGHTER. A real high-class modiste, you must know, gentlemen. In appearance, she works for the leaders of the best society; but she arranges matters so that these elegant ladies serve her purpose … without prejudice to other ladies who are … well … only so so.
THE MOTHER. You will believe me, gentlemen, that it never entered my mind that the old hag offered me work because she had her eye on my daughter.
THE STEP-DAUGHTER. Poor mamma! Do you know, sir, what that woman did when I brought her back the work my mother had finished? She would point out to me that I had torn one of my frocks, and she would give it back to my mother to mend. It was I who paid for it, always I; while this poor creature here believed she was sacrificing herself for me and these two children here, sitting up at night sewing Madame Pace's robes.
THE MANAGER. And one day you met there. …
THE STEP-DAUGHTER. Him, him. Yes sir, an old client. There's a scene for you to play! Superb!
THE FATHER. She, the Mother arrived just then. …
THE STEP-DAUGHTER (treacherously). Almost in time!
THE FATHER (crying out). No, in time! in time! Fortunately I recognized her … in time. And I took them back home with me to my house. You can imagine now her position and mine: she, as you see her; and I who cannot look her in the face.
THE STEP-DAUGHTER. Absurd! How can I possibly be expected—after that—to be a modest young miss, a fit person to go with his confounded aspirations for "a solid moral sanity"?
THE FATHER. For the drama lies all in this—in the conscience that I have, that each one of us has. We believe this conscience to be a single thing, but it is many-sided. There is one for this person, and another for that. Diverse consciences. So we have this illusion of being one person for all, of having a personality that is unique in all our acts. But it isn't true. We perceive this when, tragically perhaps, in something we do, we are as it were, suspended, caught up in the air on a kind of hook. Then we perceive that all of us was not in that act, and that it would be an atrocious injustice to judge us by that action alone, as if all our existence were summed up in that one deed. Now do you understand the perfidy of this girl? She surprised me in a place, where she ought not to have known me, just as I could not exist for her; and she now seeks to attach to me a reality such as I could never suppose I should have to assume for her in a shameful and fleeting moment of my life. I feel this above all else. And the drama, you will see, acquires a tremendous value from this point. Then there is the position of the others … his. … (indicating the Son).
THE SON (shrugging his shoulders scornfully). Leave me alone! I don't come into this.
THE FATHER. What? You don't come into this?
THE SON. I've got nothing to do with it, and don't want to have; because you know well enough I wasn't made to be mixed up in all this with the rest of you.
THE STEP-DAUGHTER. We are only vulgar folk! He is the fine gentleman. You may have noticed, Mr. Manager, that I fix him now and again with a look of scorn while he lowers his eyes—for he knows the evil he has done me.
THE SON (scarcely looking at her). I?
THE STEP-DAUGHTER. You! you! I owe my life on the streets to you. Did you or did you not deny us, with your behaviour,