Part 4

I adore you. (_Kisses her passionately_) I adore you, my sweetheart, my springtime … my…

MISS

Robert … Robert…

* * * * *

POET

It was heaven… My name is…

MISS

Robert—oh, my Robert!

POET

I call myself Biebitz.

MISS

Why do you call yourself Biebitz?

POET

My name is not Biebitz—I just use it as a pseudonym … well, don’t you recognize the name?

MISS

No.

POET

You don’t know the name Biebitz? Ah—Perfectly divine! Really? You are just pretending you don’t know it, aren’t you?

MISS

No really, I never heard it.

POET

Don’t you ever go to the theater?

MISS

Oh, yes—I was at the opera only the other day with—you know, with one of my friends and her uncle, to hear Cavalleria Rusticana.

POET

Hm, you don’t go then to see plays.

MISS

I never get tickets for them.

POET

I’ll send you a ticket soon.

MISS

Oh, do! And don’t forget it. But for something funny.

POET

Oh … something funny … you don’t care to see anything sad?

MISS

Not very much.

POET

Not even if it is a play of mine.

MISS

A play of yours? Do you write for the theater?

POET

Let me light a candle now. I haven’t seen you since you have become my best beloved—Angel!

(_He lights a candle_)

MISS

Don’t. I’m ashamed. Give me a cover at least.

POET

Later!

(_He approaches her with the light, and looks at her a long while_)

MISS

(_Covering her face with her hands_) Go away, Robert!

POET

You are beautiful, you are Beauty itself. You are Nature herself. You are the simplicity which is holy.

MISS

Ouch! You are dropping wax on me. Look, why aren’t you more careful?

POET

(_Puts the candle away_) You are that for which I have long sought. You love me for my own sake. You would love me even if I were only a counter-jumper. That’s balm to one’s heart. I must confess I was suspicious until this moment. Tell me, honestly, you didn’t have any notion that I am Biebitz?

MISS

Oh, pshaw, I don’t even know what you are talking about. I never heard of any Biebitz.

POET

What is fame! No, forget what I have told you. Forget even the name. I am Robert and I want to remain Robert to you. I was only joking. (_Lightly_) I am not a writer at all. I’m a clerk, and in the evening I play the piano in a dancehall.

MISS

But now I’m all mixed up … and the way you look at one. What is the matter, yes, what do you mean?

POET

It is very strange—something that has never happened to me, sweetheart; I am on the verge of tears. You move me deeply. We ought to live together. Will you? We will be very much in love with each other.

MISS

Is it true about the dancehall?

POET

Yes, but don’t ask any more about it. If you love me, don’t ask me anything. Tell me, can’t you get away for a few weeks?

MISS

How do you mean get away?

POET

Well, I mean, leave home?

MISS

How absurd! How could I! What would mother say? And without me everything would be topsy-turvy at home in no time.

POET

It would be so wonderful to live with you a few weeks, all alone with you, somewhere far away, in the forest, in the world of nature… Nature. And then, some day, “Good-by”—each going, without the other knowing where.

MISS

You are talking already about saying good-by. And I thought that you loved me such a lot.

POET

That is just the reason—(_Bends over her, and kisses her upon the forehead._) You sweet darling!

MISS

Please, hold me tight. I feel so cold.

POET

I fancy it’s time for you to dress. Wait, I’ll light a few more candles for you.

MISS

(_Rising_) Don’t look this way.

POET

No. (_At the window_) Tell me, child, are you happy?

MISS

What do you mean?

POET

I mean are you happy the way things are in general?

MISS

Well, they might be better.

POET

You misunderstand me. You have told me enough about your conditions at home. I know you are not a princess. Leaving all that aside, do you feel alive. Do you feel life pulsing through you?

MISS

Come, have you a comb?

POET

(_Goes to the dressing-table, hands her a comb, and watches her_) Good Lord, how lovely you look!

MISS

Please … don’t!

POET

Please, stay a while yet. I’ll get something for supper, and…

MISS

But it is awfully late already.

POET

It is not yet nine.

MISS

Dear me, I must hurry. Please!

POET

When shall I see you again?

MISS

When would you like to see me?

POET

To-morrow.

MISS

What day is to-morrow?

POET

Saturday.

MISS

Oh, then I can’t. I must take my little sister to her guardian.

POET

Then Sunday … hm … Sunday … on Sunday … now I’ll have to explain something to you.—I’m not Biebitz, but Biebitz is a friend of mine. I’ll introduce him to you sometime. Biebitz’s play will be given Sunday. I’ll send you tickets, and take you home after the performance. You will tell me then how you liked the play. Won’t you?

MISS

Here you are talking about this Biebitz again.—I don’t understand what it is all about.

POET

I won’t know you really, until I know what impression the play made on you.

MISS

Now … I’m ready.

POET

Come, sweetheart.

(_They go out_)

THE POET AND THE ACTRESS

_A room in an inn in the country. It is an evening in spring; moonlight floods the meadows and hills; the windows are open. A deep silence reigns. The POET and the ACTRESS enter, and as they cross the threshold, the candle which the POET is carrying in his hand is blown out._

POET

Oh…

ACTRESS

What’s the matter?

POET

The candle.—But we don’t need any. Look, how light it is. Wonderful!

ACTRESS

(_Sinks suddenly down at the window with her hands folded_)

POET

What’s the matter with you?

ACTRESS

(_Remains silent_)

POET

(_Going to her_) What are you doing?

ACTRESS

(_Indignant_) Can’t you see that I am praying?—

POET

Do you believe in God?

ACTRESS

Of course I do; I am not a fool.

POET

Oh, I see!

ACTRESS

Come, kneel down beside me. It will do you good to pray just once. None of the gems will drop out of your crown.

POET

(_Kneels beside her, and puts his arm around her waist_)

ACTRESS

Libertine!—(_Rises_). And do you know to whom I prayed?

POET

To God, I suppose.

ACTRESS

(_With deep sarcasm_) Oh, of course! It was to you to whom I prayed.

POET

Then why did you look out of the window?

ACTRESS

Tell me rather where you have lured me.

POET

But, child, it was your idea. You wanted to go to the country—and picked out this very place.

ACTRESS

Well, wasn’t I right?

POET

Certainly. It’s charming here. When you consider that we are just two hours from Vienna—complete solitude. And delightful scenery!

ACTRESS

Isn’t it? If you had any real talent, this place might inspire you to write.

POET

Have you been here before?

ACTRESS

Have I been here before? Indeed I have! I have lived here for years.

POET

With whom?

ACTRESS

With Dick, of course.

POET

Oh, really!

ACTRESS

How I adored that man!—

POET

You’ve told me all about that already.

ACTRESS

I am sorry—I can go away again, if I bore you!

POET

You bore me?… You can’t imagine what you mean to me… You are a whole world in itself… You are divine, you are a genius… You are the simplicity which is holy… Yes, you… But you oughtn’t to talk about Dick now.

ACTRESS

That was merely a slip! Well!—

POET

I am glad that you feel that way.

ACTRESS

Come, give me a kiss!

POET

(_Kisses her_)

ACTRESS

But now we had better say good night. Good night, darling!

POET

What do you mean by that?

ACTRESS

I mean, I am going to lie down and go to sleep.

POET

Yes,—that’s very well, but when it comes to saying “good night” … where do I sleep?

ACTRESS

There are surely a lot of other rooms in this house.

POET

But they don’t appeal to me. Don’t you think I had better light a candle now?

ACTRESS

Yes.

POET

(_Lights a candle, which stands upon the dressing-table_) What a charming room … and what pious people they must be. Pictures of saints everywhere… It would be interesting to spend some time among people like this … quite another world. How little we know of the lives of others!

ACTRESS

Don’t talk nonsense, but just give me the bag from the table.

POET

Here, beloved!

ACTRESS

(_Takes a small framed picture out of the hand-bag and puts it on the dressing-table_)

POET

What’s that?

ACTRESS

That’s the Virgin.

POET

Do you always carry her around with you?

ACTRESS

She is my talisman. And now go, Robert!

POET

You are joking? Can’t I help you?

ACTRESS

No, you must go now.

POET

And when may I return?

ACTRESS

In ten minutes.

POET

(_Kisses her_) Au revoir!

ACTRESS

Where will you go?

POET

I shall walk up and down under your window. I love to wander about outdoors at night time. My finest inspirations come to me that way. And especially near you, under the breath of your longing, I might call it … entwined in your art.

ACTRESS

You talk like an idiot…

POET

(_Hurt_) There are women who might say … like a poet.

ACTRESS

Oh, well, but do go now. But don’t start to flirt with the waitress.—

POET

(_Goes_)

ACTRESS

(_Undresses. She hears the POET going down the wooden stairway, and, then hears his footsteps below her window. As soon as she is undressed, she goes to the window and looks down to where he stands waiting. She calls to him in a whisper_) Come!

POET

(_Comes quickly upstairs and runs toward her. She in the meantime has gone to bed, and extinguished the light. He locks the door_)

ACTRESS

So, now you may sit down beside me, and tell me a story.

POET

(_Sits down on the bed beside her_) Hadn’t I better close the window? Isn’t it too cold for you?

ACTRESS

Oh, no!

POET

Now, what shall I tell you?

ACTRESS

Tell me to whom you are unfaithful at this moment?

POET

I’m sorry, I’m not unfaithful yet.

ACTRESS

Well, if it’s any satisfaction to you, I am unfaithful to some one too.

POET

So I can imagine.

ACTRESS

And who do you suppose it is?

POET

But, child, how do you expect me to know?

ACTRESS

Guess, then.

POET

Wait … your manager.

ACTRESS

My dear man, I’m not a chorus-girl.

POET

Well, I am only guessing.

ACTRESS

Guess again.

POET

Then it’s your leading-man … Benno—

ACTRESS

Nonsense! He doesn’t care for women at all … didn’t you know that? He carries on with his postman!

POET

No, really!—

ACTRESS

Now come, kiss me.

POET

(_Embraces her_)

ACTRESS

But what are you doing?

POET

Why do you torment me so?

ACTRESS

Listen, Robert, I have a suggestion to make to you. Come lie down in bed with me.

POET

I accept.

ACTRESS

Come quickly, come quickly!

POET

Yes … if I had had my way, I would have been there long ago… Listen…

ACTRESS

What?

POET

The crickets are chirping outside.

ACTRESS

You are crazy, child, there are no crickets here.

POET

But surely you hear them.

ACTRESS

Hurry up.

POET

(_Beside her_) Here I am.

ACTRESS

Now lie quite still… Sh … don’t move…

POET

Yes, but why?

ACTRESS

You would rather like to have an affair with me?

POET

I should think that’s obvious by now.

ACTRESS

There are many who would like that…

POET

But it would seem that at the moment the odds are on my side…

ACTRESS

Then, come, my cricket! I shall call you “cricket” from now on.

POET

All right…

ACTRESS

Now, tell me, whom am I deceiving?

POET

Whom?… Perhaps me…

ACTRESS

Child, you have softening of the brain.

POET

Or some one … some one whom you have never seen … some one, whom you don’t even know, some one—who is predestined for you and whom you will never find…

ACTRESS

Please don’t talk such magnificent nonsense.

POET

… Isn’t it strange … you too—and yet one could think.—But no, it would destroy the best in you, if one should … come, come—come.—

* * * * *

ACTRESS

That’s better than acting in idiotic plays… Don’t you think so?

POET

Well, it seems to me, that it is a good thing you sometimes have to act in an intelligent one.

ACTRESS

You conceited puppy. I suppose you are thinking of one of your own plays again.

POET

Yes, I am.

ACTRESS

(_Seriously_) It is really a splendid play!

POET

Well, then!

ACTRESS

You are a great genius, Robert!

POET

And you might also tell me now why you didn’t turn up the day before yesterday. There was absolutely nothing the matter with you.

ACTRESS

Well, I wanted to annoy you.

POET

But why? What have I done to you?—

ACTRESS

You were over-bearing.

POET

In what way?

ACTRESS

Everybody at the theater thinks you are.

POET

Really.

ACTRESS

But I told them, he has a perfect right to be over-bearing.

POET

And what did they say?

ACTRESS

What could they say? I am not on speaking-terms with any of them.

POET

Oh, I see.

ACTRESS

They would like nothing better than to poison me, every one of them. But they won’t succeed.

POET

Don’t think now of others. Let’s be happy that we are here together, and tell me that you love me.

ACTRESS

What further proof can you want?

POET

It’s a thing that can’t be proven anyway.

ACTRESS

I like that! What else do you want?

POET

How many are there that you have tried to convince in this way … did you love all of them?

ACTRESS

No, I have loved only one.

POET

(_Embraces her_) My…

ACTRESS

Dick.

POET

My name is Robert. What can I mean to you, if you are thinking of Dick, now?

ACTRESS

You are a mood of mine.

POET

I am pleased to know it.

ACTRESS

Well, tell me, aren’t you proud?

POET

Why should I be proud?

ACTRESS

It seems to me that you have good reason to be.

POET

Oh, because of that.

ACTRESS

Yes, because of that, my little cricket!—What about the chirping? Are they still chirping?

POET

All the time. Don’t you hear them?

ACTRESS

Of course, I hear them. But, child, those are frogs.

POET

You are wrong. Frogs croak.

ACTRESS

Of course, they croak.

POET

But this is not croaking, child, this is chirping.

ACTRESS

You are about the most stubborn person I have ever met. Kiss me, froggie.

POET

Please don’t call me that. It gets on my nerves.

ACTRESS

Well, what shall I call you?

POET

My name is Robert.

ACTRESS

Oh, but that’s stupid.

POET

But won’t you please call me simply by my own name?

ACTRESS

Well, then, Robert, give me a kiss… Ah! (_She kisses him_) Now, are you satisfied, froggie?

POET

May I light a cigarette?

ACTRESS

Give me one too. (_He takes his cigarette-case from the dressing-table; takes two cigarettes out; lights both, and gives her one_) By the way, you haven’t said a word about my performance yesterday.

POET

What performance?

ACTRESS

Well.

POET

Oh, yes. I wasn’t at the theater.

ACTRESS

You are joking.

POET

Not in the least. When you didn’t turn up the day before, I assumed you hadn’t fully recovered yesterday, and so I decided not to go.

ACTRESS

You missed something wonderful.

POET

Yes.

ACTRESS

It was a sensation. The people actually grew pale.

POET

You saw that?

ACTRESS

Benno said: Child, you acted divinely.

POET

Hm!… And so ill the day before.

ACTRESS

Indeed I was. And do you know why? Because I felt such a longing for you.

POET

A little while ago you said that you stayed away just to annoy me.

ACTRESS

But what do you know about my love for you? Everything leaves you cold. And I have been delirious for nights. In a high fever—hundred and four degrees.

POET

Rather high for a mood.

ACTRESS

You call that a mood? I am dying for love of you, and you call it a mood—?

POET

And Dick…?

ACTRESS

Dick?… Don’t talk to me about that galley-slave!—

THE ACTRESS AND THE COUNT

_The bedroom of the ACTRESS, luxuriously furnished. It is midday. The curtains are still down; a candle is burning on the dressing-table. The ACTRESS is disclosed in her four-poster bed. Many newspapers are strewn about on the cover. The COUNT in the uniform of a captain of the Dragoons enters. He remains standing at the door._

ACTRESS

Ah, Count.

COUNT

Your mother said I might, otherwise I would not—

ACTRESS

Please, come closer.

COUNT

I kiss your hand. Pardon me—when you come in from the street … I can’t see a thing yet. So … here we are (_at her bed_). I kiss your hand.

ACTRESS

Please sit down, Count.

COUNT

Your mother said, My daughter isn’t well… Nothing serious, I hope.

ACTRESS

Nothing serious? I was on the verge of death.

COUNT

Oh, dear, oh, dear, is it possible?

ACTRESS

It is very good of you to have taken the trouble to call.

COUNT

On the verge of death! And only last night you acted divinely.

ACTRESS

It was a great triumph, wasn’t it?

COUNT

Tremendous!… The audience was carried away. I won’t say anything about myself.

ACTRESS

Thanks, for the beautiful flowers.

COUNT

Nothing at all, Mademoiselle.

ACTRESS

(_Indicating with her eyes a large flower-basket, which stands on a little table near the window_) There they are.

COUNT

You were literally overwhelmed with flowers and wreaths yesterday.

ACTRESS

They are still in my dressing-room. All I brought home was your flowers.

COUNT

(_Kissing her hand_) How sweet of you.

ACTRESS

(_Suddenly seizes his hand, and kisses it_)

COUNT

But, Mademoiselle.

ACTRESS

Don’t be frightened, Count, it doesn’t put you under any obligations.

COUNT

You are a strange being … a sort of a problem almost—

(_Pause_)

ACTRESS

Miss Birken, I suppose, is much less of a problem.

COUNT

That little lady isn’t a problem at all, although … I really know her only very slightly.

ACTRESS

Oh!

COUNT

That’s the actual truth. But you are a problem. I’ve always had a yearning for a problem. It’s really been a deep personal loss to me, that until yesterday… I _never_ saw you act.

ACTRESS

Really?

COUNT

Yes! You see, going to the theater is so complicated. I am used to dining late … then when I get there, the best part of the play is over. Isn’t that true?

ACTRESS

From now on, I suppose, you will dine earlier.

COUNT

I’ve thought of that too. Or maybe I won’t dine at all. Dining isn’t a special pleasure anyhow.

ACTRESS

Are there any pleasures left to an old man like you?

COUNT

That’s a question I often ask myself. But I am not an old man. There must be some other reason.

ACTRESS

Do you think so?

COUNT

Yes. Bobby, for instance, says, that I am a philosopher. You know he means that I do too much thinking.

ACTRESS

Yes … thinking is a misfortune.

COUNT

I have too much time, that’s why I reflect. You see, I’ve often thought if they would transfer me to Vienna, things would be better. There’s diversion here, stimulation. But at the bottom, it’s not really very different from up there.

ACTRESS

What do you mean by “up there”?

COUNT

Well, down there, you know, in Hungary, in the God forsaken country towns, where I’ve been stationed most of the time.

ACTRESS

And what did you do in Hungary?

COUNT

Well, as I am telling you, military service.

ACTRESS

Yes, but why did you stay in Hungary so long?

COUNT

Oh, things happen that way.

ACTRESS

But it must be enough to drive one mad.

COUNT

But why? You have a lot more work there, than here. You know, drilling recruits, breaking in mounts … and the country really isn’t as bad as they say. They are really quite beautiful, the lowlands—and marvelous sunsets. Too bad I’m not a painter, I’ve often thought if I were, I would paint them. We had a young chap, Splany, in our regiment, who could do it.—But, dear me, what dull stories I am telling you.

ACTRESS

Please go on; they are delightful!

COUNT

Do you know, the nice thing about you is the way one can chat with you, Bobby told me all about it. And it’s so seldom one can find any one like that.

ACTRESS

Down there in Hungary, I suppose.

COUNT

But it’s quite the same in Vienna! People are always the same. Where there are more of them, the crowd is larger. That’s the whole difference. Tell me, do you really like people?

ACTRESS

Like them—? I hate them! I hate to look at them. I never see any one. I’m always alone. Nobody enters my house.

COUNT

You see, I sort of thought that you hated people. It must often be the case with artists. If one lives in the higher regions… Well, you are lucky, you know at least why you live!

ACTRESS

Who told you that? I haven’t the slightest notion what I’m living for!

COUNT

But really—to be famous—to be fêted—

ACTRESS

Does that mean happiness?

COUNT

Happiness? There really is no such thing as happiness. All the things that people talk about most, don’t exist … for instance, love. That’s one of them.

ACTRESS

I suppose you are right.

COUNT

Enjoyment … intoxication … very good, nobody can deny them … they are something real. Now, when I am enjoying myself … very good, I am aware that I am enjoying myself. Or I am intoxicated, good. That also is something real. And when it’s over, well then it’s over.

ACTRESS

(_Grandly_) It is over.

COUNT

But as soon as one does not, how shall I express it, as soon as one does not give oneself up to the moment, I mean, if one thinks of the future or the past … well, everything is over in a moment… Afterwards … there is sadness … before … there is uncertainty … in a word, one only becomes confused. Isn’t that so?

ACTRESS

(_Nods with wide open eyes_) It seems, you have grasped the essence of things.

COUNT

And, you see, when you have once clearly grasped this, it really doesn’t matter whether you live in Vienna or in the Puszta[3] or in Steinamanger.[4] You see, for instance … where may I put my cap? Yes, thank you … what were we talking about?

ACTRESS

About the Puszta.

COUNT

Of course. Well, as I said, there isn’t much difference, whether I spend the evening in the officers’ mess or at the club. It’s all the same.

ACTRESS

And what about love?

COUNT

If you believe in it, some one will always be there who will love you.

ACTRESS

Like Miss Birken, for example.

COUNT

I really don’t see why you always have to come back to that little lady.

ACTRESS

But she’s your mistress, isn’t she?

COUNT

Who says so?

ACTRESS

Everybody knows it.

COUNT

Except myself, strange to say.

ACTRESS

But you fought a duel on her account!

COUNT

Maybe. I was even killed without my knowing it.

ACTRESS

You are a gentleman, won’t you sit closer to me?

COUNT

With pleasure.

ACTRESS

Here. (_She draws him to her, and passes her hand through his hair_) I knew you would come to-day.

COUNT

How did you know?

ACTRESS

I knew it last night in the theater.

COUNT

You saw me from the stage, then?

ACTRESS

But man alive! Didn’t you notice that I acted for you alone?

COUNT

No, really?

ACTRESS

I was as on wings, when I saw you sitting in the first row.

COUNT

As on wings? On my account? I hadn’t the slightest suspicion that you noticed me!

ACTRESS

Your aristocratic reserve is enough to drive one to despair.

COUNT

But…

ACTRESS

“But”!… At least, take your saber off!

COUNT

If you permit.

(_Takes it off, and leans it against the bed_)

ACTRESS

And now give me a kiss.

COUNT

(_Kisses her, she clings to him_)

ACTRESS

It would have been better if I had never seen you.

COUNT

But this seems better to me.

ACTRESS

Count, you are a poseur!

COUNT

I—why?

ACTRESS

Can’t you imagine how happy many a man would be if he were in your place!

COUNT

I’m perfectly happy.

ACTRESS

Well, I thought happiness didn’t exist. Why do you look at me that way? I believe you are afraid of me, Count!

COUNT

I told you, Mademoiselle, you are a problem.

ACTRESS

Oh, don’t bother me with your philosophy … come to me. And ask me for anything at all … you can have whatever you want. You are so handsome.

COUNT

Well then, may I ask (_kissing her hand_) that I may call again this evening?

ACTRESS

This evening … but I have to act then.

COUNT

After the play.

ACTRESS

And you ask for nothing else?

COUNT

I shall ask for everything else after the play.

ACTRESS

(_Hurt_) You can beg a long while then, you abominable poseur.

COUNT

But, see, we’ve been perfectly frank with each other so far … it seems to me it would be so much more beautiful after the play … much cozier than now, when … I have a sort of feeling the door might open any moment…

ACTRESS

It does not open from the outside.

COUNT