Chapter VI: Act III (1)

_Interior of Murtagh Cosgar's. It is towards sunset. Murtagh
Cosgar is standing before the door looking out. Martin Douras is
sitting at the fire in an armchair._

MARTIN DOURAS It's getting late, Murtagh Cosgar.

MURTAGH COSGAR Ay, it's getting late.

MARTIN DOURAS It's time for me to be going home. I should be seeing Ellen. _(He rises)_

MURTAGH COSGAR Stay where you are. _(Turning round)_ We're two old men, as you say. We should keep each other's company for a bit.

MARTIN DOURAS I should be going home to see Ellen.

MURTAGH COSGAR If she's going, you can't stay her. Let you keep here.

MARTIN DOURAS She'll be wondering what happened to me.

MURTAGH COSGAR Divil a bit it will trouble her. You're going to the fair anyway?

MARTIN DOURAS I have no heart to be going into a fair.

MURTAGH COSGAR It's myself used to have the great heart. Driving in on my own side-car, and looking down on the crowd of them. It's twenty years since I took a sup of drink. Oh, we'll have drinking to-morrow that will soften the oul' skin of you. You'll be singing songs about the Trojans to charm every baste in the fair.

MARTIN DOURAS We're both old men, Murtagh Cosgar.

MURTAGH COSGAR And is there any reason in your scholarship why oul' men should be dry men? Answer me that!

MARTIN DOURAS I won't answer you at all, Murtagh Cosgar. There's no use in talking to you.

MURTAGH COSGAR Put it down on a piece of paper that oul' men should have light hearts when their care is gone from them. They should be like--

MARTIN DOURAS There's nothing in the world like men with their rearing gone from them, and they old.

_Sally comes to the door. She enters stealthily._

MURTAGH COSGAR Ha, here's one of the clutch home. Well, did you see that brother of yours?

SALLY I did. He'll be home soon, father.

MURTAGH COSGAR What's that you say? Were you talking to him? Did he say he'd be home?

SALLY I heard him say it, father.

MARTIN DOURAS God bless you for the news, Sally.

MURTAGH COSGAR How could he go and he the last of them? Sure it would be against nature. Where did you see him, Sally?

SALLY At Martin Douras's, father.

MURTAGH COSGAR It's that Ellen Douras that's putting him up to all this. Don't you be said by her, Sally.

SALLY No, father.

MURTAGH COSGAR You're a good girl, and if you haven't wit, you have sense. He'll be home soon, did you say?

SALLY He was coming home. He went round the long way, I'm thinking. Ellen Douras was vexed with him, father. She isn't going either, Matt says, but I'm thinking that you might as well try to keep a corncrake in the meadow for a whole winter, as to try to keep Ellen Douras in Aughnalee.

MURTAGH COSGAR Make the place tidy for him to come into. He'll have no harsh words from me. _(He goes up to the room)_

SALLY Father's surely getting ould.

MARTIN DOURAS _(sitting down)_ He's gone up to rest himself, God help him. Sally, _a stor_, I'm that fluttered, I dread going into my own house.

SALLY I'll get ready now, and let you have a good supper before you go to the fair.

MARTIN DOURAS Sit down near me, and let me hear everything, Sally. Was it Matt that told you, or were you talking to Ellen herself?

SALLY O, indeed, I had a talk with Ellen, but she won't give much of her mind away. It was Matt that was telling me. "Indeed she's not going," said he, "and a smart young fellow like myself thinking of her. Ellen is too full of notions." Here's Matt himself. Father won't have a word to say to him. He's getting mild as he's getting ould, and maybe it's a fortune he'll be leaving to myself.

_Matt comes to the door. He enters_.

MATT Where is he? He's not gone to the fair so early?

SALLY He's in the room.

MATT Were you talking to him at all? Were you telling him you saw myself?

SALLY I was telling him that you were coming back.

MATT How did he take it?

SALLY Very quiet. God help us all; I think father's losing his spirit.

MATT _(going to Martin)_ Well, you see I've come back, Martin.

MARTIN DOURAS Ay, you're a good lad. I always said you were a good lad.

MATT How did father take it, Martin?

MARTIN DOURAS Quietly, quietly. You saw Ellen?

MATT Ay, I saw Ellen _(gloomily)_. She shouldn't talk the way she talks, Martin. What she said keeps coming into my mind, and I'm troubled. God knows I've trouble enough on my head.

MARTIN DOURAS _(eagerly)_ What did she say, Matt Cosgar?

MATT It wasn't what she said. She has that school in her mind, I know.

MARTIN DOURAS And is there anything to keep her here, Matt Cosgar?

MATT I don't know that she thinks much of me now. We had a few words, but there's nothing in the world I put above Ellen Douras.

MARTIN DOURAS I should be going to her.

MATT Wait a bit, and I'll be going with you. Wait a bit. Let us talk it over. She wouldn't go from you, and you old.

MARTIN DOURAS God forgive my age, if it would keep her here. Would I have my Ellen drawing turf, or minding a cow, or feeding pigs?

MATT I'm fond of her, Martin. She couldn't go, and I so fond of her. What am I doing here? I should be making it up with her. What good will anything be if Ellen Douras goes? _(He turns to the door, then stops)_ I came to settle with him. I mustn't be running about like a frightened child.

_The room door opens, and Murtagh Cosgar is seen. Sally has hung a
pot over the fire, and is cleaning the dishes at the dresser_.

MURTAGH COSGAR _(at the room door)_ Sally, it's time to be putting on the meal. If you have any cabbage left, put it through the meal. _(To Matt)_ You put the thong in the harness?

MATT I did _(pause)_ Well, I've come back to you.

MURTGAH COSGAR You're welcome. We were making ready for the fair.

MATT I'll be going out again before nightfall.

MURTAGH COSGAR I'll not be wanting you here, or at the fair.

MATT _(sullenly)_ There's no good talking to me like that.

MURTAGH COSGAR You said, "I've come back," and I said, "you're welcome." You said, "I'm going out again," and I said, "I'll not be wanting you."

MATT Father, have you no feeling for me at all?

MURTAGH COSGAR Sure the wild raven on the tree has thought for her young.

MATT Ay, but do you feel for me, and I standing here, trying to talk to you?

MURTAGH COSGAR You're my son, and so I feel sorry for you; and you beginning to know your own foolishness. _(He turns to Sally)_ I'm not taking the pigs. Put a fresh bedding under them to-night.

SALLY I will, father.

MURTAGH COSGAR Be up early, and let the cows along the road, or they'll be breaking into the young meadow.

SALLY I'll do that, too.

MURTAGH COSGAR Be sure to keep enough fresh milk for the young calf.

SALLY I'll be sure to do it, father.

_She goes out. Martin takes out his paper, and begins to read it
again_.

MATT _(turning on Murtag)_ Before I go out again there's something I want settled.

MURTAGH COSGAR What is it you want?

MATT Would you have me go, or would you have me stay?

MURTAGH COSGAR Don't be talking of going or staying, and you the last of them.

MATT But I will be talking of it. You must treat me differently if you want me to stay. You must treat me differently to the way you treat Sally.

MURTAGH COSGAR You were always treated differently, Matt. In no house that ever I remember was there a boy treated as well as you are treated here.

MATT The houses that you remember are different from the houses that are now. Will you have me go, or will you have me stay?

MURTAGH COSGAR You're very threatening. I'd have you stay. For the sake of the name, I'd have you stay.

MATT Let us take hands on it, then.

MURTAGH COSGAR Wait, we'll see what you want first.

MATT You have no feeling. I'd go out of this house, only I want to give you a chance.

MURTAGH COSGAR Stop. We can have kindness in this. We needn't be beating each other down, like men at a fair.

MATT We're not men at a fair. May God keep the kindness in our hearts.

_Martin rises_.

MURTAGH COSGAR Don't be going, Martin Douras.

MATT Don't be going yet. I'll be with you, when you're going.

_Martin sits down_.

MURTAGH COSGAR _(to Matt)_ You'll be getting married, I suppose, if you stay?

MATT Maybe I will.

MURTAGH COSGAR _(bitterly)_ In the houses that are now, the young marry where they have a mind to. It's their own business, they say.

MATT Maybe it is their own business. I'm going to marry Ellen Douras, if she'll have me.

MURTAGH COSGAR Ellen is a good girl, and clever, I'm told. But I would not have you deal before you go into the fair.

MATT I'm going to marry Ellen Douras.

MURTAGH COSGAR Her father is here, and we can settle it now. What fortune will you be giving Ellen, Martin? That 100 pounds that was saved while you were in Maryborough gaol?

_Martin shakes his head_.

MATT _(stubbornly)_ I'm going to marry Ellen Douras, with or without a fortune.

MURTAGH COSGAR _(passionately)_ Boy, your father built this house. He got these lands together. He has a right to see that you and your generations are in the way of keeping them together.

MATT I'll marry Ellen Douras, with or without a fortune.

MURTAGH COSGAR Marry her, then. Marry Ellen Douras.

MATT Now, Martin, we mustn't let an hour pass without going to her. _(He takes Martin's arm, and they go to the door)_

MURTAGH COSGAR Marry Ellen Douras, I bid you. Break what I have built, scatter what I have put together. That is what all the young will be doing,

_Ellen Douras comes to the door as Matt and Martin reach it_.

MATT Ellen!

_She shrinks back_.

ELLEN It's my father I came to speak to.

MURTAGH COSGAR _(going to the door, and drawing the bolt from the half-door)_ When you come to my house, Ellen Douras, you are welcome within.

_Ellen comes in_,

ELLEN It's right that I should speak to you all. Matt Cosgar, I am going from here.

MATT Ellen, Ellen, don't be saying that. Don't be thinking of the few words between us. It's all over now. Father agrees to us marrying. Speak, father, and let her hear yourself say it.

ELLEN I can't go into a farmer's house.

MATT You said that out of passion. Don't keep your mind on it any longer.

ELLEN It's true, it's true. I can't go into a farmer's house. This place is strange to me.

MATT How can you talk like that? I'm always thinking of you.

ELLEN I've stayed here long enough. I want my own way; I want to know the world.

MATT If you go, how will I be living, day after day? The heart will be gone out of me.

MURTAGH COSGAR You'll be owning the land, Matt Cosgar.

MATT _(passionately)_ I've worked on the land all my days. Don't talk to me about it now.

_Ellen goes to Martin. Murtagh goes up to the door, and then turns
and speaks_.

MURTAGH COSGAR Listen to me, Matt Cosgar; and you listen too, Ellen Douras. It's a new house you want maybe. This house was built for me and my generations; but I'll build a new house for you both. It's hard for a man to part with his land before the hour of his death; and it's hard for a man to break his lands; but I'll break them, and give a share of land to you.

ELLEN You were never friendly to me; but you have the high spirit, and you deserve a better daughter than I would make. The land and house you offer would be a drag on me. _(She goes to the door)_

MATT Ellen, what he offers is nothing, after all; but I care for you. Sure you won't go from me like that?

ELLEN Oh, can't you let me go? I care for you as much as I care for any one. But it's my freedom I want.

MATT Then you're going surely?

ELLEN I am. Good-bye.

_She goes out, Martin follows her. Matt stands dazed. Murtagh
closes the door, then goes and takes Matt's arm, and brings him down_.

MURTAGH COSGAR Be a man. We offered her everything, and she went. There's no knowing what the like of her wants. The men will be in soon, and we'll drink to the new ownership.

MATT Oh, what's the good in talking about that now? If Ellen was here, we might be talking about it.

MURTAGH COSGAR To-morrow you and me might go together. Ay, the bog behind the meadow is well drained by this, and we might put the plough over it. There will be a fine, deep soil in it, I'm thinking. Don't look that way, Matt, my son.

MATT When I meet Ellen Douras again, it's not a farmer's house I'll be offering her, nor life in a country place.

MURTAGH COSGAR No one could care for you as I care for you. I know the blood between us, and I know the thoughts I had as I saw each of you grow up.

_Matt moves to the door_.

MURTAGH COSGAR Where are you going?

MATT To see the boys that are going away.

MURTAGH COSGAR Wait till the fall and I'll give you money to go and come back. Farrell Kavanagh often goes to America. You could go with him.

MATT I'll go by myself, unless Ellen Douras comes now. The creamery owes me money for the carting, and I'll get it.

MURTAGH COSGAR Then go. Good-bye to you, Matt Cosgar.

MATT Good-bye to you.

_He goes out. Murtagh stands, then moves about vaguely_

MURTAGH COSGAR The floor swept, the hearth tidied. It's a queer end to it all. Twenty years I bid them offer. Twenty years, twenty years!

_Martin comes back_.

MURTAGH COSGAR The men will be coming back.

MARTIN DOURAS I suppose they will.

MURTAGH COSGAR You're a queer fellow, Martin Douras. You went to gaol for some meeting.

MARTIN DOURAS Ay.

MURTAGH COSGAR Them was the stirring times. I can't help but think of you in gaol, and by yourself. What brings you back now?

MARTIN DOURAS Ellen told me to go back. I should say something to Matt, I think.

MURTAGH COSGAR He went out as you came in.

MARTIN DOURAS I'll go in when the house is quiet. I'll have a few prayers to be saying this night.

MURTAGH COSGAR I'm going to the fair.

MARTIN DOURAS I won't be going to the fair.

MURTAGH COSGAR Why won't you be going to the fair? Didn't you ask me for a lift? You'll be going with me.

MARTIN DOURAS I won't be going, and don't be overbearing me now, Murtagh Cosgar.

MURTAGH COSGAR You will be going to the fair, if it was only to be showing that, seemly face of yours. _(Going to the door, he calls)_ "Sally!" _(He turns to Martin Douras)_ I've a daughter still, Martin Douras.

MARTIN DOURAS You have, and I have a son.

MURTAGH COSGAR What would you say to a match between them, Martin Douras?

MARTIN DOURAS I have nothing to say again it.

MURTAGH COSGAR Then a match it will be.

_Sally comes in from yard_.

SALLY If you fed that baste on honey, she'd turn on you. Cabbage I gave her and got into trouble for it, and now she's gone and trampled the bad potatoes till they're hardly worth the boiling. I'll put the bush in the gap when I'm going out again, father.

MURTAGH COSGAR Ay. Is that Cornelius Douras that's coming up the path?

SALLY O faith it is. I'll get him to give me a hand with the trough.

_Cornelius comes in_.

CORNELIUS Well, Murtagh Cosgar, a great and memorial day is ended. May you live long to enjoy the fruits of it. Twenty years on the first term, and the land is ours and our children's. I met the men.

MURTAGH COSGAR Ours and our children's, ay. We've been making a match between yourself and Sally.

CORNELIUS Between me and Sally?

SALLY Between Cornelius and myself?

MURTAGH COSGAR Ay, shake hands on it now.

CORNELIUS And tell me one thing, Murtagh Cosgar. Is it true that Matt's going to America, and that Ellen will wait for him for a year at the school? I met them together, and they told me that.

MURTAGH COSGAR What they say is true, I'm sure. The land is yours and your children's.

SALLY _(wiping her hands in her apron)_ O Cornelius.

CORNELIUS Aren't they foolish to be going away like that, father, and we at the mouth of the good times? The men will be coming in soon, and you might say a few words. _(Martin shakes his head)_ Indeed you might, father; they'll expect it of you. _(Martin shakes his head. Murtagh and Sally try to restrain him)_ "Men of Ballykillduff," you might say, "stay on the land, and you'll be saved body and soul; you'll be saved in the man and in the nation. The nation, men of Ballykillduff, do you ever think of it at all? Do you ever think of the Irish nation that is waiting all this time to be born?"

_He becomes more excited; he is seen to be struggling with words_.

END OF PLAY

THE LAND was first produced at the Abbey Theater, Dublin, in June, 1905, by The Irish National Theater Society, under the direction of W.G. Fay, with the following cast:--

MURTAGH COSGAR W. G. Fay MATT Proinsias MacSiubhlaigh SALLY Sara Allgood MARTIN DOURAS F.J. Fay CORNELIUS Arthur Sinclair ELLEN Maire Ni Gharbhaigh.

_THOMAS MUSKERRY_

CHARACTERS

THOMAS MUSKERRY The Master of Garrisowen Workhouse MRS. CRILLY His Daughter CROFTON CRILLY His Son-in-law ALBERT CRILLY His Grandson ANNA CRILLY His Granddaughter JAMES SCOLLARD Thomas Muskerry's Successor FELIX TOURNOUR The Porter at Workhouse Lodge MYLES GORMAN A Blind Piper CHRISTY CLARKE A Boy reared in the Workhouse SHANLEY | MICKIE CRIPES | Paupers in Workhouse AN OLD MAN |

SCENE: _Garrisowen, a town in the Irish Midlands_.

ACT FIRST

_The Master's office in Garrisowen Workhouse. It is partly an
office, partly a living room. To the right is a door opening on
corridor, and in the back, left, a door leading to the Master's
apartments. There is an iron stove down from back and towards right,
and a big grandfather's clock back towards door of apartments. A
basket arm chair down from stove, and a wooden chair beside it.
There is a desk against wall, left, and an office stool before it.
Down from this desk a table on which is a closed desk. On table are
books, papers, and files. On a wooden chair beside the arm chair is
a heap of newspapers and periodicals. There is a rack beside
corridor door, and on rack a shawl, an old coat, a hat, and a bunch
of big keys. In the corner, right, is a little cabinet, and on it a
small mirror. Above door of apartments a picture of Daniel O'Connell.
The grandfather's clock is ticking audibly. It is 8.45 p.m. The gas
over desk is lighted_.

_Christy Clarke, a youth of about seventeen, is seated in the
armchair reading a periodical. His clothes are threadbare, but
brushed and clean. He looks studious, and has intellectual
possibilities. The clock ticks on, the boy reads, but with little
attention. At the corridor door there is a knocking. Christy Clarke
turns slightly. The door opens, and a tall man in the ugly dress of
a pauper is seen. The man is Felix Tournour. He carries in a bucket
of coal. He performs this action like one who has acquired the habit
of work under an overseer. He is an ugly figure in his pauper dress.
His scanty beard is coal black. He has a wide mouth and discoloured
teeth. His forehead is narrow and bony. He is about forty-five._

TOURNOUR _(in a harsh voice, after looking around)_ Is he not back yet?

CHRISTY _(without stirring)_ Is who not back yet?

TOURNOUR The master I'm talking about. I don't know where he does be going those evenings.

_He shovels coal into the stove_.

CHRISTY And what is it to you where he does be going?

TOURNOUR Don't talk to me like that, young fellow. You're poorhouse rearing, even though you are a pet. Will he be sitting up here to-night, do you know?

CHRISTY What's that to you whether he will or not?

TOURNOUR If he's sitting up late he'll want more coal to his fire.

CHRISTY Well, the abstracts will have to be finished to-night.

TOURNOUR Then he will be staying up. He goes out for a walk in the evenings now, and I don't know where he does be going.

CHRISTY He goes out for a walk in the country. _(Tournour makes a leer of contempt)_ Do you never go for a walk in the country, Felix Tournour?

TOURNOUR They used to take me out for walks when I was a little fellow, but they never got me out into the country since.

CHRISTY I suppose, now that you're in the porter's lodge, you watch every one that goes up and down the road?

TOURNOUR It gratifies me to do so--would you believe that now?

CHRISTY You know a lot, Felix Tournour.

TOURNOUR We're told to advance in knowledge, young fellow. How long is Tom Muskerry the Master of Garrisowen Workhouse?

CHRISTY Thirty years this spring.

TOURNOUR Twenty-nine years.

CHRISTY He's here thirty years according to the books.

TOURNOUR Twenty-nine years.

CHRISTY Thirty years.

TOURNOUR Twenty-nine years. I was born in the workhouse, and I mind when the Master came in to it. Whist now, here he is, and time for him.

_He falls into an officious manner. He closes up the stove and puts
bucket away. Then he goes over to desk, and, with his foot on the
rung of the office stool, he turns the gas on full. Christy Clarke
gets out of armchair, and begins to arrange the periodicals that are
on wooden chair. The corridor door opens. The man who appears is not
the Master, however. He is the blind piper, Myles Gorman, who is
dressed in the pauper garb. Myles Gorman is a Gael of the West of
Ireland, with a face full of intellectual vigour. He is about sixty,
and carries himself with energy. His face is pale and he has a
fringe of a white beard. The eye-balls in his head are contracted,
but it is evident he has some vestiges of sight. Before the others
are aware who he is, he has advanced into the room. He stands there
now turning the attentive face of the blind_.

GORMAN Mister Muskerry! Are you there, Mister Muskerry?

TOURNOUR What do you want, my oul' fellow?

GORMAN _(with a puzzled look)_ Well, now, I've a favour to ask of your honour.

TOURNOUR Be off out of this to your ward.

GORMAN Is that Mister Muskerry?

CHRISTY Mister Muskerry isn't here.

GORMAN And who am I talking to?

CHRISTY You are talking to Felix Tournour.

GORMAN Felix Tournour! Ay, ay. Good night, Felix Tournour. When will the Master be back?

TOURNOUR _(coming to him)_ Not till you're out of this, and back in your ward.

GORMAN Wasn't there a boy speaking to me?

CHRISTY Yes _(speaking as if to a deaf man)_ The Master will be going the rounds in a while, and you can speak to him in the ward.

GORMAN I've a favour to ask the Master, and I don't want to ask it before the others. _(To Christy)_ Will the Master be here soon, a vick vig? [6]

TOURNOUR _(taking him by the shoulders)_ Here, now, come on, this is your way out.

_He turns Gorman to the door. As he is putting him out Thomas
Muskerry enters_

TOURNOUR This oul' fellow came into the office, and I was leading him back into his ward.

MUSKERRY Leave the man alone.

_Tournour retreats to the stove and takes up the bucket; after a
look behind he goes out and closes the corridor door. Christy Clarke
takes the periodicals over to table and sits down. Myles Gorman has
been eager and attentive. Thomas Muskerry stands with his back to the
stove. He is over sixty. He is a large man, fleshy in face and figure,
sanguine and benevolent in disposition. He has the looks and
movements of one in authority. His hair is white and long; his
silver beard is trimmed. His clothes are loosely fitting. He wears
no overcoat, but has a white knitted muffler round his neck. He has
on a black, broad-brimmed hat, and carries a walking-stick._

[Footnote 6: _A mhic bhig,_ my little son.]

MUSKERRY Well, my good man?

GORMAN I'm here to ask a favour from you, Master.

MUSKERRY You should proffer your request when I'm in the ward. However, I'm ready to give you my attention.

GORMAN I'm a blinded man, Master, and when you're in the ward I can't get you by yourself conveniently. I can't come up to you like the other oul' men and speak to you private like.

MUSKERRY Well, now, what can I do for you?

GORMAN _(eagerly)_ They tell me that to-morrow's the market-day, and I thought that you might give me a pass, and let me go out about the town.

MUSKERRY We'll consider it, Gorman.

GORMAN Master, let me out in the town on the market-day.

MUSKERRY We couldn't let you out to play your pipes through the town.

GORMAN I'm not thinking of the music at all, Master, but to be out in the day and to feel the throng moving about, and to be talking to the men that do be on the roads.

MUSKERRY We'll consider it, Gorman. _(He takes off muffler, and puts it on back of armchair)_

GORMAN Well, I'm very much obliged to your honour. Good night to you, Master. _(He passes Muskerry and goes towards the door. Muskerry has been regarding him)_

MUSKERRY Tell me this, Gorman, were you always on the roads?

GORMAN I was driving cattle, and I was dealing in horses. Then I took up with an oul' man, and he taught me the pipes. I'm playing the pipes ever since, and that's thirty years ago. Well, the eyes began to wither up on me, and now I've only a stim of sight. I'm a blinded man from this out, Master.

MUSKERRY And what will you do?

GORMAN Oh, sure the roads of Ireland are before me when I leave this; I'll be playing my bit of music. _(He moves to the door)_

MUSKERRY Tell me; have you any family yourself?

GORMAN Ne'er a chick nor child belonging to me. Ne'er a woman lay by me. I went the road by myself. Will you think of what I asked you, Master?

MUSKERRY I'll consider it.

GORMAN Good night to your honour. Remember my name, Master--Gorman, Myles Gorman.

_Muskerry stands looking after Gorman_.

MUSKERRY Now, Christy Clarke, I consider that the man gone out is a very exceptional man.

CHRISTY Is it Myles Gorman?

MUSKERRY Yes. I'd even say that, considering his station in life, Myles Gorman is a very superior man.

CHRISTY They say he's not a good musician.

MUSKERRY And maybe he's not. I consider, however, that there's great intelligence in his face. He stands before you, and you feel that he has the life of a young colt, and then you're bound to think that, in spite of the fact that he's blind and a wanderer, the man has not wasted his life. _(Muskerry settles himself in the armchair)_

CHRISTY Will you give leave for to-morrow?

MUSKERRY No, Christy, I will not.

CHRISTY Why not, Mister Muskerry?

MUSKERRY That man would break bounds and stay away.

CHRISTY Do you think he would?

MUSKERRY He'd fly off, like the woodquest flying away from the tame pigeons.

CHRISTY He and his brother had a farm between them. His brother was married, and one day the brother told Myles to go to Dublin to see a comrade of his who was sick. Myles was home in a week, and when he came back he found that his brother had sold the place and was gone out of the country.

MUSKERRY His brother did wrong, but he didn't do so much wrong to Myles Gorman.

CHRISTY How is that, Mister Muskerry?

MUSKERRY He sent Myles Gorman to his own life. He's a man who went his own way always; a man who never had any family nor any affairs; a man far different from me, Christy Clarke. I was always in the middle of affairs. Then, too, I busied myself about other people. It was for the best, I think; but that's finished. On the desk under your hand is a letter, and I want you to bring it to me.

CHRISTY _(going through papers idly)_ "I am much obliged for your favour--"

MUSKERRY That's not it.

CHRISTY _(reading another letter)_ "I am about to add to the obligations under which I stand to you, by recommending to your notice my grandson, Albert Crilly--"

MUSKERRY That's the letter. It's the last of its kind. Bring it to me. _(Christy Clarke brings over the letter)_ There comes a turn in the blood and a turn in the mind, Christy. This while back I've been going out to the country instead of into the town, and coming back here in the evenings I've seen the workhouse with the big wall around it, and the big gate going into it, and I've said to myself that Thomas Muskerry ought to be as secure and contented here as if he was in his own castle.

CHRISTY And so you ought, Mister Muskerry.

MUSKERRY Look round at the office, Christy. I've made it as fit for me as the nest for the wren. I'll spend a few more years here, and then I'll go out on pension. I won't live in the town, I've seen a place in the country I'd like, and the people will be leaving it in a year or two.

CHRISTY Where is it, Mister Muskerry?

MUSKERRY I'll say no more about it now, but it's not far from this, and its near the place, where I was reared.

CHRISTY And so you'll go back to your own place?

MUSKERRY As Oliver Goldsmith my fellow county man, and I might almost say, my fellow parishioner, says--What's this the lines are about the hare, Christy?

CHRISTY "And like the Hare whom Hounds and Horns pursue Pants to the place from whence at first he flew."

MUSKERRY Aye. "And like the Hare whom Hounds and Horns pursue"-- _(The clock strikes nine)_

CHRISTY You weren't on the rounds yet?

MUSKERRY _(startled)_ Would you believe it, now, it was nearly passing my mind to go on the rounds? _(He rises, putting the letter in his pocket)_ Where's that fellow, Albert Crilly? He was to have been in here to give me a hand with the abstracts. Christy Clarke, go down to Miss Coghlan's and get me two novelettes. Bring me up two nice love stories, and be here when I come back.

_Christy Clarke takes his cap off rack and goes out. Thomas
Muskerry puts on his scarf, goes to the rack and takes down the
bunch of keys. As he is going out Felix Tournour enters with a
bucket of coal. He carries it over to the stove_.

MUSKERRY Now, Tournour, sweep up this place.

_Thomas Muskerry goes out by corridor door. Felix Tournour takes
brush from under desk, left, and begins to sweep in the direction of
corridor door_.

TOURNOUR Sweeping, sweeping! I'll run out of the house some day on account of the work I've to do for Master Thomas Muskerry. _(He leans on his brush in front of stove)_ I know why you're going for walks in the country, my oul' cod. There's them in town that you've got enough of. You don't want to go bail for Madam Daughter, nor for Count Crofton Crilly, your son-in-law, nor for the Masters and Mistresses; all right, my oul' cod-fish. That I may see them laying you out on the flags of Hell. _(He puts the brush standing upright, and speaks to it)_:

"The Devil went out for a ramble at night,
Through Garrisowen Union to see every sight.
The ould men were dreaming of meat to come near them,
And the Devil cocked ears at the words for to hear them.
'Twice a year we get meat,' said the toothless oul' men,
'Oh, Lord send the meat won't be too tough again.'
To clear away dishes Mick Fogarty goes,
May the Devil burn the nails off his toes.
Deep dreaming that night of fast days before,
Sagging the walls with the pull of his snore,
In his chamber above Thomas Muskerry lay snug,
When the Devil this summons roared in his lug--"

_The door of the Master's apartments is opened and Albert Crilly
enters. Albert Crilly is a young man, who might be a bank clerk or a
medical student. He is something of a dude, but has a certain
insight and wit_.

ALBERT _(lighting a cigarette)_ Is the grandparent here, Tournour?

TOURNOUR He's gone on the rounds, Mister Albert.

ALBERT What time was he up this morning?

TOURNOUR He was late enough. He wasn't up in time to come to Mass with us.

ALBERT The old man will get into trouble.

TOURNOUR If the nuns hear about it.

ALBERT He'll have to give the whole thing up soon.

TOURNOUR He's well off that can get somebody else to do the work for him. _(He continues to sweep towards corridor)_

ALBERT Tournour, you're a damned clever fellow. I heard a piece of yours yesterday that I thought was damned good.

TOURNOUR Was it a rhyme?

ALBERT It was something called "The Devil's Rambles."

TOURNOUR _(taking a step towards him)_ Don't let the boss hear, and I'll tell it to you, Mr. Albert. _(He holds the brush in his hands and is about to begin the recitation when Crofton Crilly enters from the Master's apartments. Crofton Crilly has a presentable appearance. He is big and well made, has a fair beard and blue eyes. A pipe is always in his mouth. He is a loiterer, a talker, a listener)_

CRILLY Are you going to finish the abstracts to-night, Albert?

ALBERT I believe I am. Go on with "The Devil's Rambles," Tournour.

CRILLY I heard it in Keegan's. It's damn good.

TOURNOUR I don't like saying it before Mister Crilly.

CRILLY _(with easy contempt)_ Go on with it, man; I'll leave a pint in Keegan's for you.

TOURNOUR Well, you mightn't like it.

CRILLY Have done talking and go on with it.

TOURNOUR _(reciting)_--

"In his chamber above--a--a _person_ lay snug,
When the Devil this summons roared in his lug--
'Get up,' said the Devil, 'and swear you'll be true,
And the oath of allegiance I'll tender anew.
You'll have pork, veal, and lamb, mutton-chops, fowl and fish,
Cabbage and carrots and leeks as you wish.
No fast days to you will make visitation,
For your sake the town will have dispensation.
Long days you will have, without envy or strife,
And when you depart you'll find the same life,
And in the next world you'll have your will and your sway,
With a Poorhouse to govern all your own way,
And I'll promise you this; to keep up your state,
You'll have Felix Tournour to watch at the gate.'"

CRILLY That's damn good. I must get a copy of the whole of it to show at Keegan's.

_Tournour has swept as far as the corridor door. He opens it and
sweeps down the passage. He goes out and closes door_.

CRILLY That's a damn clever fellow. _(He becomes anxious, as with a troubled recollection. He goes to the little cabinet, opens it, and takes out a bottle of whisky and a glass. He pours some whisky into the glass, and remains looking at himself in the mirror. He smooths his beard. He goes to the arm chair with the glass of whisky, the anxious expression still on his face)_ This is a cursed town. _(He drinks)_

ALBERT Every town in Ireland is a cursed town.

CRILLY But this is an extraordinarily cursed town. Everybody's in debt to everybody else. I don't know what's to be done. Now, imagine that fellow, James Covey, failing in business and getting clear out of the town.

ALBERT Covey seems to have done it well.

CRILLY God knows how many he has stuck.

ALBERT Well, he didn't stick the Crillys for anything.

CRILLY Albert, you don't know how these financial things work out. Do you think would his brother settle?

ALBERT Settle with whom?

CRILLY Well ... with any of the ... any of the people that have ... I don't know. It's a cursed town. If I had joined the police at your age, I'd have a pension by this, and I mightn't care for any of them.

ALBERT I wish I had a job and I'd wait on the pension.

CRILLY Oh, you'll be all right. The grandfather is seeing about your job.

ALBERT If the grandparent gets me that job I'll want two new suits at least.

CRILLY 'Pon my soul, Albert, I don't know what's to be done. ( _His mind wanders off)_ I suppose the abstracts have to go out in the morning.

ALBERT They have. And damn all the old man has done to them.

CRILLY The Guardians hear that he's late in the mornings, Albert, and some of them are beginning to question his fitness to check the stores.

ALBERT The old man ought to resign.

CRILLY I suppose he ought. I'm not wishing for his resignation myself, Albert. You know your mother regards it as a settled thing that he should come and live with us.

ALBERT The mother and Anna are preparing for the event.

CRILLY How's that, Albert?

ALBERT Mother has James Scollard in her eye for the new Master.

CRILLY Right enough! Scollard would get it, too, and then he would marry Anna.

ALBERT That's the arrangement, I expect.

CRILLY It mightn't be bad. Scollard mightn't want Nancy's money under that arrangement. Still I don't like the idea of the old man living in the house.

ALBERT The mother would never think of letting him take himself and his pension anywhere else.

CRILLY I don't think she would.

ALBERT I wouldn't be surprised if he did go somewhere else. I hear he often goes up to that cottage in Stradrina.

CRILLY What cottage, Albert?

ALBERT Briar Cottage. I hear he sits down there, and talks of coming to live in the place.

CRILLY _(warningly)_ Albert, don't clap hands behind the bird. Take my word, and say nothing about it.

ALBERT All right.

CRILLY We'd have no comfort in the house if your mother's mind was distracted.

_Mrs. Crilly enters from corridor. She is a woman of forty, dressed
in a tailor-made costume. She has searching eyes. There is something
of hysteria about her mouth. She has been good-looking._

CRILLY Good night, Marianne.

MRS. CRILLY Are you finishing the abstracts, Albert?

ALBERT I'm working at them. It's a good job we didn't leave the old man much latitude for making mistakes.

MRS. CRILLY _(closing door)_ He'll have to resign.

CRILLY Good God, Marianne. _(He rises)_

MRS. CRILLY Well. Let him be sent away without a pension. Of course, he can live with us the rest of his life and give us nothing for keeping him.

CRILLY I don't know what's in your mind at all, Marianne. _(He crosses over to the cabinet, opens it, and fills out another glass of whisky)_

ALBERT Let the old man do what suits himself.

CRILLY _(coming back to stove)_ Do, Marianne. Let him do what suits himself. For the present.

MRS. CRILLY For pity's sake put down that glass and listen to what I have to say.

CRILLY What's the matter, Marianne?

MRS. CRILLY James Scollard came to me to-day, and he told me about the things that are noticed.... The nuns notice them, the Guardians notice them. He misses Mass. He is late on his rounds. He can't check the stores that are coming into the house. He may get himself into such trouble that he'll be dismissed with only an apology for a pension, or with no pension at all.

CRILLY I don't know what's to be done.

MRS. CRILLY If he could be got to resign now James Scollard would have a good chance of becoming Workhouse Master. He would marry Anna, and we would still have some hand in the affairs of the House.

CRILLY Yes, yes. I think that Scollard could make a place for himself.

ALBERT The old man won't be anxious to retire.

MRS. CRILLY Why shouldn't he retire when his time is up?

ALBERT Well, here he is what's called a potentate. He won't care to come down and live over Crilly's shop.

MRS. CRILLY And where else would he live in the name of God?

ALBERT He won't want to live with our crowd.

MRS. CRILLY What crowd? The boys can be sent to school, you'll be on your situation, and Anna will be away. _(She seats herself in the armchair)_ I don't know what Albert means when he says that the Master would not be content to live with us. It was always settled that he would come to us when his service was over.

_Albert, who has been going over the books, has met something that
surprises him. He draws Crilly to the desk. The two go over the
papers, puzzled and excited. Anna Crilly enters from corridor. She
is a handsome girl of about nineteen or twenty, with a rich
complexion dark hair and eyes. She is well dressed, and wears a cap
of dark fur. She stands at the stove, behind her mother, holding her
hands over the stove. Mrs. Crilly watches the pair at the desk_.

MRS. CRILLY We can't think of allowing a pension of fifty pounds a year to go out of our house. Where will we get money to send the boys to school?

ANNA Mother. Grandfather is going to live away from us.

MRS. CRILLY Why do you repeat what Albert says?

ANNA I didn't hear Albert say anything.

MRS. CRILLY Then, what are you talking about?

ANNA Grandfather goes to Martin's cottage nearly every evening, and stays there for hours. They'll be leaving the place in a year or two, and Grandfather was saying that he would take the cottage when he retired from the Workhouse.

MRS. CRILLY When did you hear this?

ANNA This evening. Delia Martin told me.

MRS. CRILLY And that's the reason why he has kept away from us. He goes to strangers, and leaves us in black ignorance of his thought.

_Crilly and Albert are busy at desk_.

CRILLY Well, damn it all--

ALBERT Here's the voucher.

CRILLY God! I don't know what's to be done.

ALBERT It's a matter of fifty tons.

_Albert turns round deliberately, leaving his father going through
the papers in desperate eagerness. Albert takes a cigarette from
behind his ear, takes a match-box from his waistcoat pocket, and
strikes a light. He goes towards door of apartments. Mrs. Crilly
rises_.

ALBERT _(his hand on the handle of door)_ Well so-long.

MRS. CRILLY Where are you going?

ALBERT I'm leaving you to talk it over with the old man.

_Mrs. Crilly looks from Albert to Crilly_.

CRILLY The Master has let himself in for something serious, Marianne.

ALBERT It's a matter of fifty pounds. The old man has let the Guardians pay for a hundred tons of coal when only fifty were delivered.

MRS. CRILLY Is that so, Crofton?

CRILLY It looks like it, Marianne.

ALBERT There were fifty tons of coal already in stores, but the Governor didn't take them into account. That cute boy, James Covey, delivered fifty tons and charged for the hundred. The old man passed on the certificate, and the Guardians paid Covey. They helped him to his passage to America. _(He opens door and goes through)_

MRS. CRILLY They will dismiss him--dismiss him without a pension.

ANNA Mother. If he gets the pension first, could they take it back from him?

CRILLY No. But they could make him pay back the fifty pounds in instalments.

MRS. CRILLY Fifty pounds! We can't afford to lose fifty pounds.

ANNA Who would find out about the coal, father?

CRILLY The Guardians who take stock.

ANNA And how would they know at this time whether there was a hundred or a hundred and fifty tons there at first?

CRILLY The business men amongst them would know. However, there won't be an inspection for some time.

ANNA Suppose grandfather had got his pension and had left the Workhouse, who would know about the coal?

CRILLY The new Workhouse Master.

MRS. CRILLY The new Workhouse Master--

CRILLY Marianne--

MRS. CRILLY Well?

CRILLY I think I'll stay here and advise the old man.

MRS. CRILLY No. Go away.

CRILLY _(at door of apartments)_ After all, I'm one of the Guardians, and something might be done.

MRS. CRILLY You can do nothing. We can do nothing for him. Let him go to the strangers.

_Crilly goes out_.

MRS. CRILLY Anna!

ANNA Yes, mother.

MRS. CRILLY The Martins are not giving up their house for a year or two?

ANNA No, mother.

MRS. CRILLY If he resigns now his pension will be safe. There is nothing else against him.

ANNA But some one will find out the difference in the coal.

MRS. CRILLY It's the new Workhouse Master who will know that.

ANNA _(hardening)_ But _he_ could not pass such a thing, mother.

MRS. CRILLY _(abandoning a position)_ Well, after your grandfather gets his pension we could make some arrangement with the Guardians.

ANNA Yes, mother. Hasn't grandfather a hundred pounds invested in the shop?

MRS. CRILLY It's not a hundred pounds. Besides, it's not an investment.

ANNA _(with a certain resolution in her rich voice)_ Mother. Is my money safe?

MRS. CRILLY We could give you the eighty pounds, Anna, but after that we would need all the help we could get from you.

ANNA Yes, mother.

MRS. CRILLY _(again taking up a position)_ But if we help James Scollard to the place.

ANNA _(with determination)_ Whether Mr. Scollard gets the place or does not get the place, I'll want my fortune, mother.

MRS. CRILLY Very well, Anna. If we could get him to come over. ... _(She sits in arm chair)_ There's a lamb in Ginnell's field; you might call in to-morrow and ask them to prepare it for us.

ANNA Then grandfather is coming to dinner on Sunday?

MRS. CRILLY We must get him to come.

_Some one is coming up the passage. Anna's hand is on handle of door.
She holds it open. Thomas Muskerry stands there_.

MUSKERRY _(pleased to see her)_ Well, Nancy!

ANNA Good night, grandpapa. _(He regards her with fondness)_

MRS. CRILLY Good night, father.

MUSKERRY This Nancy girl is looking remarkably well. _(He turns to Mrs. Crilly)_ Well, ma'am, and how are you? I've written that letter for that rascally Albert.

_He leaves his stick on table and goes to desk. Mrs. Crilly watches
him. Anna comes to her. Muskerry addresses an envelope with some
labour. Mrs. Crilly notices a tress of Anna's hair falling down. Anna
kneels down beside her. She takes off Anna's cap, settles up the hair,
and puts the cap on again. Having addressed the envelope, Muskerry
holds up a piece of wax to the gas. He seals the letter then holds
it out_.

MUSKERRY Here's the letter now, and maybe it's the last thing I can do for any of ye.

MRS. CRILLY You are very good.

_Muskerry goes to them_.

MUSKERRY In season and out of season I've put myself at your service. I can do no more for ye.

_She takes the letter from him. His resentment is breaking down. He
sits on chair beside armchair. He speaks in a reconciling tone_.

MUSKERRY You're looking well, Marianne,

MRS. CRILLY I'm beginning to be well again.

MUSKERRY And the infant? What age is he now?

MRS. CRILLY Little Joseph is ten months old.

MUSKERRY I dreamt of him last night. I thought Joseph became a bishop. He ought to be reared for the Church, Marianne. Well, well, I've nothing more to do with that. _(He settles himself in the armchair)_ Did Christy Clarke bring in the papers?

ANNA Christy Clarke hasn't been here at all, grandpapa.

MUSKERRY Stand here till I look at you Nancy. _(Anna comes left of stove)_ I wouldn't be surprised if you were the best-looking girl in the town, Nancy.

ANNA _(without any coquettishness)_ Anna Crilly is riot going into competition with the others. _(She wraps the muffler round him, then kisses him)_ Good night, grandpapa. _(She goes out by corridor door)_

MRS. CRILLY Thank you for the letter for Albert.

MUSKERRY I think, Marianne, it's the last thing I can do for you or yours.

MRS. CRILLY Well, we can't tell a bad story of you, and things are well with us.

MUSKERRY I'm glad to hear that. I was thinking of going to see you next week.

MRS. CRILLY Come to dinner on Sunday. We are having a lamb.

MUSKERRY What sort is the lamb?

MRS. CRILLY Oh, a very young lamb. Anna will make the dressing for you.

MUSKERRY I'll send round a bottle of wine. Perhaps we'll be in the way of celebrating something for Albert.

MRS. CRILLY Nancy was saying that you might like to stay a few days with us.

MUSKERRY Stay a few days! How could I do that, ma'am?

MRS. CRILLY You could get somebody to look after the House. James Scollard would do it, and you could stay out for a few days.

MUSKERRY Well, indeed, I'll do no such thing. What put it into your head to ask me this?

MRS. CRILLY Nancy said--

MUSKERRY Let the girl speak for herself. What's in your mind, woman?

MRS. CRILLY Well, you're not looking well.

MUSKERRY I'm as well as ever I was.

MRS. CRILLY Others do not think so.

MUSKERRY I suppose you heard I was late a few mornings. No matter for that. I'm as well as ever I was. No more talk about it; I'm going on with the work. _(He rises and goes over to desk)_

MRS. CRILLY I'm sorry to say that no one else thinks as well of you as you do yourself.

MUSKERRY Well, I'll hear no more about it, and that's enough about it. Why isn't Albert Crilly here?

MRS. CRILLY Well, he was here, and he is coming back.

MUSKERRY I'll want him. _(He takes up a card left on the desk. He turns round and reads)_--"You have let the Guardians pay for a hundred tons. James Covey delivered only fifty tons of coal." Who left this here?

MRS. CRILLY I suppose Albert left it for you.

MUSKERRY The impudent rascal. How dare he address himself like that to me? _(He throws card on table)_

MRS. CRILLY Perhaps he found something out in the books.

MUSKERRY No matter whether he did or not, he'll have to have respect when he addresses me. Anyway it's a lie--a damn infernal lie. I was in the stores the other day, and there was eighty tons of coal still there. Certainly twenty tons had been taken out of it. The Provision Check Account will show. _(He takes up a book and turns round. He goes back some pages. He lets the book fall. He stands there helpless)_ I suppose you all are right in your judgment of me. I'm at my failing time. I'll have to leave this without pension or prospect. They'll send me away.

MRS. CRILLY They had nothing against you before this.

MUSKERRY I was spoken of as the pattern for the officials of Ireland.

MRS. CRILLY If you resigned now--

MUSKERRY Before this comes out. _(He looks for help)_ Marianne, it would be like the blow to the struck ox if I lost my pension.

MRS. CRILLY If you managed to get the pension you could pay the Guardians back in a lump sum.

MUSKERRY If I resigned now, where would I go to?

MRS. CRILLY It was always understood that you would stay with us.

MUSKERRY No, Marianne.

MRS. CRILLY You'll have the place to yourself. The boys will be going to school, and Albert will be away, too. Anna and myself will look after you.

MUSKERRY I could stay for a while.

MRS. CRILLY Oh, well, if you have a better place to go--

MUSKERRY Remember what I said, Marianne. I've worked for you and yours, in season and out of season. There should be no more claims on me.