Volume XII

The Vision of God and Man, Confessions, Four Plays
by Hazrat Inayat Khan
PART I: FOUR PLAYS

A Sarai.¹ The MODERNIST, seated on a stool, is reading a newspaper. The SPECULATOR enters and goes up to the MODERNIST.

SPECULATOR. What's the rate of exchange today?

MODERNIST. (looks at him and then down at his paper). I haven't come to it yet.

SPECULATOR. Then what have you read? That's the first thing one must read.

Yesterday money had gone down and I made a profit. The other day I bought some shares, which I sold, and I got four times the amount.

MODERNIST. I'm not at all interested in speculations; I'm looking for what the papers say about the new Cabinet that is to be formed. I'm wondering who are to be elected to sit in Parliament. If the Labor Party gets the upper hand, the state of affairs will change; conditions will improve.

SPECULATOR. It doesn't matter a bit to me, which party comes up and which goes down. 'God save our bread.' What I'm concerned about is if the money market rises or falls. What difference does it make if one party goes and another comes? It is always like this with the government.

(Enter LOVER)

LOVER. Oh, oh, she never did care for me. She never did love me. I now realize how she has treated me… I never thought she could be so heartless. Day after day I have followed her, and night after night I have dreamed of her. I thought of her at every moment of the day… It is of her that I have spoken, if ever I have spoken… Woman, woman! I wish I could die!

SPECULATOR (hastens towards him). What's the matter with you?

LOVER. O, it is she, it is she who is the cause of it all! Now I am good for nothing: why should I live any longer?

SPECULATOR. You fool, think of something else. If you get money, you have everything.

LOVER. I have failed… I have failed in life.

SPECULATOR. Have you lost your money? Are you bankrupt? How have you failed?

LOVER. No, my only love has disappointed me.

SPECULATOR. Make money, and the world will be yours. It is no use dying because a

woman turns away from you.

LOVER. My love, my love!

SPECULATOR. Love money, the only object worthy of love.

LOVER. I've never thought of money in my life. I only lived for love.

SPECULATOR. How silly you are! If you haven't learnt how to make headway in the

world, you have wasted your life. Time is money. If you have money, everybody is

drawn to you: if you're poor, no one cares for you. (Goes to the MODERNIST.)

MODERNIST. What's the matter with that fellow? Is he lovesick? He, he!

SPECULATOR. He's got inflammation of the heart. Ha, ha, ha!

MODERNIST. Science has proved today that love is a convulsion of the brain.

(Enter LADY, fashionably dressed.)

LADY (speaking to herself.) I hate; I hate the sight of woman. I don't mind men.

SPECULATOR. (looks at her with surprise.)

LADY. Turn away your evil eye, you ugly fellow!

SPECULATOR. What did you say?

LADY. Why did you look at me? How dare you look at me? (To the MODERNIST)

Why are you hanging your head? Why don't you look at me? You insult me!

Am I not dressed in up-to-date fashion?

MODERNIST. (looks up and down.)

LADY. Disgusting (Sits down.)

MODERNIST. (glances at her out of the corner of his eye, then looks down, whispering.)

Silly woman!

(Enter SAGE, simply clad. He looks at no one, but sits down for a rest.

The others look at him astonished)

SPECULATOR. Who's this?

MODERNIST. A freak.

SPECULATOR. What did you say?

MODERNIST. A freak. Someone who wanders about, with nothing to do.

Fools his time away.

LADY (laughs, looking at him.) Bogey-man!

SPECULATOR (to MODERNIST.) I think there's something in this man.

You never know. Sometimes such men can tell you your fortune.

MODERNIST. Nonsense!

SPECULATOR. Well, I'll go and speak to him and see what he says. (He goes to

the right and greets him. The SAGE, absorbed in his thoughts, does not see him.

He goes to the other side, winking at the MODERNIST, and greets him. The

SAGE remains absorbed in his thoughts. Then the SPECULATOR goes in front

of him and greets him. The SAGE responds by nodding).

SPECULATOR (sits down.) Excuse my asking you, but I think men like you can tell

many things. What do you think: will money rise or fall?

SAGE. What will rise must fall, and what will fall must rise. Rise and fall are natural

to life. No rise is permanent, or fall lasting. It is reality behind it all which

is steady and dependent.

SPECULATOR. (closes one eye and scratches his head.) Well, can you tell me if I shall

make some profit next week?

SAGE. There is only one profit , which is worth striving after. That profit is to gain what no one can take away from you.

SPECULATOR (points with his finger to his forehead.) Thank you. (Goes away,

laughing, to the LADY who is seated there.) Where did you get that precious

necklace? (touching the necklace.)

LADY (strikes him on the shoulder.) Go away! Don't touch my necklace with your

awkward hands. I have many rings and necklaces. I am a lady. How dare you touch

my necklace? Can't you talk from a distance? Keep to where you belong!

SPECULATOR (rolls his eyes and retreats, rubbing the place where she has struck

him.)

MODERNIST. What did he say?

SPECULATOR. Who? That funny lady?

MODERNIST. No, no, that strange-looking man.

SPECULATOR (laughs.) He told me a lot, but I did not understand one word. He is

not all there; he seems to be floating on air. When I talk to him about the South, he

tells me about the North.

MODERNIST. Let me go and see what he says. (Goes near the SAGE, greets him and

sits.) Excuse me asking you a few questions.

SAGE (looks at him.)

MODERNIST. I suppose you don't interest yourself in the present political situation?

But I should like to know what you think. Do you thing the Labor Party will win the election?

SAGE. Whichever party comes to power, it certainly fulfills the law from above. The

various parties seem different to our eyes, but there is His Will that is done, and His

will that will be done. When we show preference for one party over the other, it is our

limitations. Men group themselves into parties: when we see behind all different

parties there is one perfect whole, working out its destiny toward the fulfillment of the purpose of life.

MODERNIST. What do you think of the great wrong done the people by those at present

in power?

SAGE. Those who wish to better conditions by fighting against all that is wrong often do

a greater wrong. The more parties there are, the greater the disharmony. It is dividing one into many. It is by unity that the purpose of life in achieved.

MODERNIST. But what do you u think of the people who have held wealth and high position for generations whilst depriving others of them?

SAGE. You are right. Every man must have his chance of attaining all that is good and worth while. But there are two ways of attaining. One way is to rob, and the other way is to earn. One earns by deserving it; one robs without deserving it. There must be a mutual goodwill on the part of those who possess something and of those who do not possess. Those who do not possess must deserve and earn it. Those who possess must make all sacrifices possible, in order that every man in the world may have his chance of prospering and rising in life. The undeserving one by robbing will never be able to enjoy and use his possession fully. For to possess and enjoy something one must earn it and deserve it.

MODERNIST. Do you think a sense of mutual goodwill can be aroused among the people in high position without strong measures?

SAGE. Every hurt and harm caused to another rebounds. Any slight destruction results in greater destruction. Man is born with a sense of justice in his innermost being. And if a just proposition is brought before him, sooner or later he must respond to it. Harmlessness is the principal thing in religion. Disharmony causes greater disharmony; it is harmony that results in peace.

MODERNIST. Thank you. I shall reflect upon it. (Gets up and goes.)

SPECULATOR. What did the fellow tell you?

MODERNIST. He does not speak my language. While we are thinking of fighting, he is thinking of peace.

SPECULATOR. Now, I'll have some fun. I'll take this lady to that fellow and see what he says. (Goes to the LADY and puts his arm in hers.) Come along, old girl, if you want your fortune told.

LADY. (strikes his arm and pushes him away.) Why do you touch me, rude man? Can't you keep at a respectful distance?…Will he tell me my fortune?

SPECULATOR. Yes, he will.

LADY. I'll come.

SPECULATOR (brings her to the SAGE .) This noble lady wants to talk to you.

LADY. Will you read my hand and tell me my fortune?

SAGE. No, Madam, I do not tell fortunes.

LADY. No? They all say you can tell fortunes. Won't you tell me? I am an unhappy woman.

SAGE. Why are you unhappy, Madam?

LADY. The troubles at home. The servants these days have become so neglectful, so independent and rude that you can't expect them to do one thing properly.

SAGE. Madam, that is the phenomenon of the time. It is the weather of the season. The best thing is to take everyone as he is, and to know that he cannot be any better. Appreciate all that he can do, and overlook all he does not do. It is with kindness that you must treat those who depend upon you. It is with kindness alone that can move rocks.

LADY (wiping her eyes.) Servants apart, even my friends have turned away from me. One day I think I can have trust and confidence in a friend. Next day the same person betrays my trust. I am so disappointed in people that now I cannot say whom I can call my friend.

SAGE. Madam, do not expect much from friends. Why must they be as you want them to be? They are not made by you. They are as they are. You must try to be for them what they expect you to be. It matters little is your friend proves to you to be a friend. What matters is, if you prove to be a friend.

LADY. No, I don't want even to look at friends who have once turned away from me. Even my husband is unsympathetic to me.

SAGE. What do you do about it?

LADY. I have told him so very often.

SAGE. There you are. Instead of kindling the fire to his heart by blowing, you pour water upon it.

LADY. Now my heart is closed.

SAGE. Is not your heart your self? Or is it a door that is jammed and cannot be opened?

LADY. When he comes home from his work, he is as cold as a lump of ice.

SAGE. Madam, ice melts in a moment by heat. If your heart is glowing with love, blazing with devotion, no ice can stay unmelted. Madam, do not even acknowledge all that seems undesirable to you. The best way to right the wrong is to look at it in the right light. It is we who cause our unhappiness, and it is we who, if we happen to know the key to life, can find happiness.

LADY. Thank you, it is all too high for me. I'm going.

SPECULATOR. (comes behind her, as if he was taking her back. She pushes him away with her elbows; he walks behind her, with outspread arms and bent knees as if protecting her.)

LOVER. My love, my love, I wish I could die. (LADY and the two men rush towards him.)

SPECULATOR. Let's bring him to the Bogey-man and tell him that there is a soothsayer sitting here: that we shall have his fortune told. (He brings him to the SAGE.) This man is lovesick, He said he had a disappointment and his heart is broken. We can't find where the pieces of his heart have dropped.

MODERNIST. Now, we shall leave him to tell you his love-story. (To the others.) Let's go out of the sarai.

(SAGE and LOVER are left alone.)

LOVER. Please give me something that I may die instantly.

SAGE. Why do you want to die?

LOVER. I failed in love. She has abandoned me. Now there is nothing for me to live for…I want to die.

SAGE. How have you failed in love? Love is the only thing in life. For love is all that is. Love lives and all dies. If all failed you in life, love will not fail you. Perhaps you have not understood the meaning of love. Love that depends on being answered by the beloved is lame; it does not stand on its own feet. Love that tries to possess the beloved is without arms; it can never hold. Love that does not regard the pleasure and displeasure of the beloved is blind. Love that is demanding and self-asserting is dead. If you have love, you have all. What more do you want? --Learn my boy, to know what love is before you profess to be a lover.

LOVER. Then what am I to do? I am most unhappy. Life is unbearable.

SAGE. Your unhappiness comes from self-pity. Love is neither joy, nor pain; it is both. If it is pain, it is as sweet as joy. If it is joy, it is as deep as pain. Love is the ladder by which you reach the highest ideal. Loving is living. (Remains in abstraction.)

LOVER. No, no. I am most unhappy…I cannot endure it any longer…I will die, I must die. (He puts poison in his mouth and falls dead near the feet of the SAGE.)

SAGE. Ram, Ram, Ram, Ram.

 

CURTAIN

Scene 2

Before the hut of the SAGE. The CHELAS are beginning to gather. FIRST CHELA is already sitting in silence, Enter SECOND and THIRD CHELAS.

SECOND CHELA. He is always engaged in meditation, poor man.

THIRD CHELA. Perhaps he will hurry up his spiritual journey. There is a time for everything.

SECOND CHELA. Even God must get tired of hearing his continual prayer.

THIRD CHELA. He listens to the Guru very much. For him every letter of the Guru is law. I suppose he's very good.

SECOND CHELA. Yes, too good to live: I can't be so good! -- I wonder if the path we have taken is the right one.

THIRD CHELA. There is no doubt about the path being the right one, but it is difficult to have patience to keep to it.

SECOND CHELA. I can't go on much longer, for there are many other things to accomplish in life, not only this.

THIRD CHELA. Seek ye first the Kingdom of God, as is said in the Scriptures. This is the principal thing to accomplish, and all other things are secondary. If you take it as anything else, then you can be sure that you will never accomplish it.

SECOND CHELA. Yes, I suppose it is the work of such patient people as this one (Pointing to FIRST CHELA.)

(Enter FOURTH CHELA.)

FOURTH CHELA. (hastily.) Has the class begun? Has the class begun? Has the Guru come?

SECOND CHELA. The Guru has not yet arrived; perhaps he has forgotten the time. There is no such thing as time.

FOURTH CHELA. The later the better. I'm only sorry I've left my notebook at home.

THIRD CHELA. Do you have to write down what is being taught here? Can't you take it all in?

FOURTH CHELA. Oh no, I can't do it. I must have it all on paper, for I need to chew the cud leisurely at home. (He goes to the FIRST CHELA.) Will you tell me please about something I cannot understand: I have puzzled every day over it.

FIRST CHELA. You must ask the Guru.

FOURTH CHELA. I dare not trouble the Guru with my questions. Won't you tell me what is? The Guru said: All in one. If it is one, how can it be all? Because all denotes plurality.

FIRST CHELA. All sums up in unity.

FOURTH CHELA. Oh, this I cannot understand.

FIRST CHELA. You will understand one day.

FOURTH CHELA. No, never. I can't. I can’t be a hypocrite to my own self by imagining two to be one: tow is tow, one is one. I have read hundreds of books on the occult sciences. And I have written fifty books on philosophy myself. I have gone from one occult school to another, till I passed through perhaps twenty schools, but I have not yet got to the bottom of the thing I seek.

FIRST CHELA. You will not get to the bottom as long as you feel you can't get to the bottom.

FOURTH CHELA. Explain to me, please, how many inner bodies there are. One school says there are five, another school says there are seven. What I see is only one, the physical body (pointing to his body.)

FIRST CHELA. This you must realize by meditation.

FOURTH CHELA. I get tired of sitting quiet, even for three minutes. -- And tell me how many more times we have to come back here on earth. Shall we be born in other planets, and then what will happen in the end?

FIRST CHELA. You need not worry about the end, for the end is the same as the beginning.

FOURTH CHELA. What do you mean by beginning? Birth?

FIRST CHELA. Whatever you imagine.

FOURTH CHELA. That's what make my head go round and round. It is like beating about the bush. You never come straight to the point. Everybody here complains of this.

FIRST CHELA. Even if everybody did, I suppose you don't.

(FOURTH CHELA gets up annoyed and moves away. Enter FIFTH CHELA.)

FIFTH CHELA (goes to FIRST CHELA.) To me it is all vague and in a mist. Will you please explain something about the strange ways of the Guru?

FIRST CHELA. The ways of the Guru are many, each subtle and incomprehensible. His moral conceptions, his philosophical thoughts, his lofty ideals, his realization of God, his wide horizon of vision, and the flight of his consciousness in the higher spheres, all these cannot be put into words. He notices all things, whether he sees them or not feels all conditions, whether he knows them or not. He gives a bitter pill to one, and a delicious sweet to another. He looks at one and thinks of another; he teaches one in words and the other in silence; he speaks to one and inspires another by his piercing glance. It is all his love, whether it comes in the form of heavy rain or bright sunshine.

FIFTH CHELA (to FOURTH CHELA.) The method that our Guru gives us must be shaped according to the times. The times demand something quite different.

FOURTH CHELA. I think you are right. But how do you think it must be done?

FIFTH CHELA. Everything should be explained in words. Why is there any need for secrecy? What is there to be kept secret in truth? If we know truth we can declare it to everyone. What people are looking for is truth. And if we have it, we can answer all they ask of life.

FOURTH CHELA. I quite agree with you. It must be modified and made to suit the modern world, so that no scientist or literary person can find any ground for criticizing.

(The other CHELAS come nearer to hear the talk. The GURU enters and

sees them conversing. They all greet him.)

SAGE. What discussion is going on?

SECOND CHELA. My friend asks why truth cannot be given in a frame that may be accepted at the present time.

SAGE. In the first place, truth is vaster than any frame we can make to put it in. Besides, no matter what frame we make for truth to be presented in, an unawakened soul will never see it, but will only see the frame.

FIFTH CHELA. But why must we keep it secret?

SAGE. God Himself conceals all beauty from the eyes of the unevolved. Beauty covers itself, or the unevolved close their eyes to it. In both cases beauty remains veiled-and truth is the supreme beauty.

FIFTH CHELA. Why must we not systematize spiritual knowledge?

SAGE. What can be systematized cannot be spiritual knowledge. This is beyond all classification. It is the earthly things that can be made cut and dried. The farther you go on the spiritual path, the finer becomes your perception. Truth is most simple and most subtle. It is grosser than mountains and finer than atoms.

FOURTH CHELA. Then how can we know occult laws?

SAGE. By mystical experience.

FOURTH CHELA. How can it be developed: It is twenty years since I began reading occult books. Every day I have written down what you have said, and yet I do not find I have got any nearer.

SAGE. It is not study alone that brings you to the realization of truth. If often wraps your soul in many more covers. What gives you an insight into the hidden laws of nature is meditation.

(Enters SIXTH CHELA.)

SIXTH CHELA. (greets the Teacher.) Excuse me for being late, Guru. I want to tell you, last evening I went to a séance, and heard a spirit talk through the trumpet. He told me so many things about what will happen my life. Do you think all he said is true?

SAGE. You are the one who must know that.

SIXTH CHELA. I have seen such a wonderful vision of you, Guru! You were all clad in blue, and then you turned red. Then your whole appearance became scarlet, and in the end it was a golden light; then your face disappeared altogether from my sight.

SAGE. You may have seen someone else, not me.

SIXTH CHELA. The other day I saw a lady who psychometrized things and told all their history. It was wonderful. When shall I develop clairvoyance? I have been your Chela for several years. Now I ought to be able to work wonders.

SAGE. I have not yet arrived at that stage myself.

(Enter SEVENTH CHELA.)

SEVENTH CHELA. Guru, when first I cane to you things seemed to change, but now everything seems to go wrong with me. I have not been well for some time; money affairs have gone wrong, and people make me agitated. Prayers annoy me; I cannot put my mind to meditation. I think there is no hope for me, Guru; and as my friend has left you, I feel I cannot go on any longer. Now I must attend only to my own business, instead of going after such things.

SAGE. It is one's attitude that changes life, but it is by patient pursuit that one arrives at the desired goal.

(Enters CANDIDATE.)

CANDIDATE. (greets.) Will you take me as your Chela, Guru? I have heard of you from my friend, who said many good things about you. I have read much about these things and I have talked with many occultists. I think I am quite ready to take the spiritual path, don't you think so? I am sure you will not have much difficulty with me, because I am mature. Do you really thing there is a soul or a hereafter?

SAGE. This I suppose you already know.

CANDIDATE. Yes, but I should like to know what you think about it (Short pause.) I will not belong to your group, excuse me for saying so. I don't wish to be bound by any vows, nor shall I make any promises: for I know if ever I did so I should not be able to keep them. I don't want this to be known by my people, and especially not by those with long robes. I shall be your Chela, for I like you, but I hate to be among other Chelas.

SAGE. You do not need to be a Chela, as you already know so many things.

CANDIDATE. No, I have come to be your Chela. Only I cannot have any discipline. Besides, I wonder if you agree with all I believe.

SAGE. You keep on believing as you believe, and go on the way you wish to tread. For this path is most difficult: it needs self-abnegation.

(CANDIDATE takes his leave. Enter EIGHTH CHELA.)

EIGHTH CHELA. When I am with you, Guru, your inspiring presence gives me enthusiasm and faith. But as soon as I leave you I lose it all. When you speak to me I believe it without any doubt, but when I am among my friends and hear them talking, then my mind becomes thoroughly confused-I get discouraged when people speak against these things, and doubt begins to creep into my mind.

SAGE. The brick has to go through fire in order to become hard. You must learn to depend upon your own feelings. It is then that belief becomes faith.

(Enter TWO POLICEMEN.)

FIRST POLICEMAN. Isn't this the Bogey-man of whom people told us?

SECOND POLICEMAN. I suspect this is the murderer of the young man at the sarai.

FIRST POLICEMAN. Ha, ha ha! And here he is preaching the Gospel. Come along, Bogey-man, you are wanted at the police-station.

SECOND CHELA (to THIRD CHELA.) Look, here is an example of what is said in the Scriptures: Ye shall know them by their fruits.

THIRD CHELA. It is also said in the Scriptures: Judge not, that ye be not judged. We know not whether this is cause or effect. Sometimes what appears as effect may be the cause, sometimes what seems to be the cause may be the effect.

FOURTH CHELA. I thought so; nowhere in the world is any good to be found. I now understand why there was all this talk of secrecy.

FIFTH CHELA. This is the outcome of all that vagueness. I f he had any truth, he could have put it in plain words. Look, even now he does not admit simply that he has killed the man.

FIRST CHELA (to himself.) How time changes people…True it is that no one stands by you in your worst hour. Prosperity gathers friends, adversity scatters them.

(SAGE stands up.)

FIRST CHELA. Guru, I will come with you.

SAGE. No, you must not follow me in my disgrace. I must face it alone.

(FIRST CHELA is most unhappy.)

SAGE (turning to all his Chelas.) My blessed Chelas, allow me to thank you most heartily for your response. Providence has brought us together here, while I was on my way to the solitude from where I come. I have learnt more from you than you from me; and still you called me your Guru. Will you remember these as my last words: observe God in His manifestation, worship God in man, admire God in nature, and love God in loving all living beings. Efface yourself continually, and what will appear to you in the end will be God.

FIRST POLICEMAN. Cut short your sermon.

SAGE: Continue to strive in the path of truth and be not satisfied with less than truth. In the light of truth you must see God and man; in the spirit of truth you must realize self and all.

SECOND POLICEMAN. Now, that's enough.

SAGE. I will go where destiny will take me. Truth is victorious. God bless you!

(Departs; all are impressed and many sad.)

CURTAIN

ACT II

Scene 1

Compound outside the prison-ground. The SAGE is seated in meditation. People come to greet him and depart.

A PASSER-BY. He must be a great sage. I wonder what has brought him to this prison.

ANOTHER. Many such saints sin in order to deserve life in prison.

ANOTHER. Look how deeply he is absorbed in his silence!

ANOTHER. He is a silent as the stork waiting for the fish to come.

ANOTHER. He is God's beloved. Such people care for no one, for nothing in the world. He is like a God on earth.

ANOTHER. Hush! God is in the heavens. When did you see Him drop on earth? Don't speak so, it is sacrilege.

ANOTHER. I feel like sitting at his feet forever.

ANOTHER. Because you are so lazy.

ANOTHER. His atmosphere is so calm and peaceful.

ANOTHER. Look at his face, beaming with light. It's as if he were an angel.

ANOTHER. It seems angels have become cheap on the market lately; you can buy them at any price.

(A man brings another who has lost control of his nerves and makes all sorts of faces and distorted gestures. When he wishes to go the sick man pulls him back, saying 'Stay here.)'

MAN. (to SAGE.) Will you cure him?

(The SAGE opens his eyes, touches the sick man's head and the man is well. All are amazed.)

SOMEONE. Oh, he is a great healer!

(A man and woman come in, holding a woman between them.)

MAN. Will you please cure her obsession? (To the woman.) Who is obsessing you?

WOMAN. I am a giant. I lived in the tree where this woman used to sit and sew. I looked and looked at her, till I fell desperately in love with her. And now I have fallen I cannot rise. The woman possesses me and I obsess her.

(The woman moves her head round and round.)

MAN. Away, you giant. Leave off controlling my wife.

WOMAN. No, I will not leave her.

MAN. Do you know in whose presence you are? You will be driven out if you will not leave her; you will be burnt to pieces.

SAGE (touches her.)

WOMAN. Yes, yes I leave her; I go, I am gone!

(The woman is cured and they go out. All the people there are wildly excited about the great SAGE.)

ANOTHER WOMAN. Will you cure me of my illness: I get fits of temper. Then I tear m my garments, I insult my friends, I torture animals, and I quarrel with my children. I throw at strangers anything within my reach. When I'm angry, I frighten devils away.

SAGE (puts his hand on her head.)

WOMAN. I'm cured, I'm cured, I fell I'm cured!

EVERYBODY. Ah, what a great soul.

-This is the man I would follow with my eyes closed.

-To see a man like this is like seeing God

-What power; he is a miraculous man!

(Enter TWO NOBLEMEN.)

NOBLEMAN. We have brought here the order from our gracious Queen to release you from your imprisonment. She has sufficient proof now that you are innocent. We are asked to take you to the palace, where our Queen is waiting to welcome you.

SAGE. What have I, a wandering man, to do at the court? Prison or palace is the same to me.

NOBLEMAN. Great Sage, if you come it would bless our Queen and her palace.

SAGE. Yes, I will come.

CURTAIN

Palace veranda. The SAGE is received, standing before the Queen, who is sitting near a little table with wine and glasses.

QUEEN. I am very sorry indeed, great Sage, that you were arrested in my kingdom. I apologize to you humbly for this unjust treatment which you have received from our people. As the diamond shines out even if it is amongst garbage, so you have shown your light. I consider it my privilege to see you here and to receive your blessing.

SAGE. All things that people do in life, good or bad, right or wrong, by them they build prison bars around themselves. Therefore, at every moment of life their captivity becomes greater. Life itself is a prison, Queen, a prison which every soul experiences as it dwells in this mortal body of limitations. It is from this prison that I have sought freedom. Therefore no prison can bind my soul anymore.

( The QUEEN offers wine to the SAGE. She stands next to him, near the balustrade of

the balcony. The SAGE drinks.)

QUEEN. I have heard people talk so much about you and your wonderful healing-power.

SAGE. I never depend on popularity. People generally are like sheep; where one goes, all follow. They raise a person one day and throw him down the next. (She puts her hand in his hand; he presses it to his heart.) I do not mean rare souls like you, fair Queen. It is the people I mean.

(People who had admired him pass by, looking and searching for the Teacher and Healer.)

PEOPLE. Oh, he happens to be a false saint?

OTHERS. Look, look, he is drinking and making love to our beautiful Queen.

WOMAN. (who had come to get her head cured, holding both hands to her head.) He cannot cure my head, he cannot cure my head.

MAN. (comes in limping.) I thought he was healing and he happens to be merrymaking. I have come from miles away, and it is all in vain.

ANOTHER. Listen to what they say; it is all humbug.

SAGE. I had hardly uttered the philosophy when an example manifested before us. Every man weighs another soul on his own scales, and measure him with his own yardstick, not knowing the weight and length of the soul, neither comprehending its height nor its depth. Everyone judges all by himself.

QUEEN. We must not remain here; we will go and have a quiet talk inside the palace.

CURTAIN

Room inside the palace. QUEEN and SAGE, seated.

QUEEN. (with her hand on his chair.) The moment I heard of your presence here I knew what was attracting me. Great Sage, I am hungering to understand life, thirsting for association with the Illuminated.

SAGE. Yes, Queen, your hunger and thirst are of the soul. It is when a soul is born again that hunger and thirst begin.

(The QUEEN pours out wine and hands it to the SAGE. The SAGE drinks.)

QUEEN. I should so much like to know about life and death, about rise and fall, about that which we see and that which we do not see, about love and hate, about God and man.

SAGE. Wonderful questions, Queen; you response draws you closer to my heart.

QUEEN. It is these questions that have attracted me to you, beloved Sage.

SAGE. Your soul, Queen, has waited for me, though it knew it not before we met. Life is one living stream, continually running without beginning or end. Death is man's illusion. The change that hides man's existence from him he calls death. Life is still, but its flow, which is ever-moving, rises and fall in waves; it is this that created an illusion of rise and fall. All this we seen is the manifestation of one Spirit in many and varied forms.-Love, beautiful Queen, is the first will, the precedent cause. This whole manifestation is a phenomenon of love. Hate is the want of love; it has no existence of its own.-God is the ideal. Man makes and raises Him as high as he can for the expansion of his own soul.

QUEEN. How inspiring! It uplifts my spirit. How can I show you my gratitude, my devotion?

(The SAGE holds her hand to his heart, and kisses her.)

QUEEN. This is you home, since my heart has become an abode of your soul. You will bless me and my kingdom by staying here and will illuminate the chamber of my heart.-I offer you, beloved Sage, my heart and soul and all I possess, though it is too small an offering to be made.

(She sends for a silk robe to replace the Wanderer's mantle, and gives him a pearl necklace instead of his old rosary. Gold embroidered shoes are

brought to replace his sandals.)

SAGE. This is all to rich for me.

QUEEN. Nothing is too rich for you, beloved.

(Enter BRAHMINS with two garlands of flowers and a tray with grain

to give the blessing.)

BRAHMINS. God bless this auspicious wedding.

(Entertainments are given to the SAGE. Wine is brought and served

by the QUEEN. Many courtiers come.)

CURTAIN

Scene 4

SAGE. Wilderness, my dearest friend, why did I leave you? When did I leave you? Though I had left you, still you where always in my heart-the memory of having meditated in the woods, of having trees of long tradition whose every leaf is a tongue of flame…Venerated trees, have I not taken refuge in your shadow from the hot sun, when tired of roaming about in your wilderness, bare-footed? …Little pools of water, I drank nectar from you…Joyful I felt under the vast canopy of the blue sky…Gentle steams of water, running from hills and rocks, I bathed in you and was purified of all infirmities…High mountains with a background of white clouds. No place in the world could be compared with your beauty…Morning sun, your are most glorious in the wilderness. I have never seen your face so beaming anywhere else.

Yes, am I really here, or am I in the midst of the world? Yes, there was a reason for being in the world. There is a reason for everything. Life is not without meaning, and all that a person does, whether knowingly or knowingly, he only fulfills through his life's purpose. The prison I was in was not a prison, for my conscience stood above it. The grandeur of the palace had no attraction for me. The only charm I felt there was my precious Queen.-Wilderness, you attract me, you call me. Though I long to be in the solitude, yet I never felt I was away from you.

CURTAIN

Room inside the palace. QUEEN and SAGE sitting next to one another. Courtiers present. The PRINCE is brought by the GOVERNESS and the GUARDIAN. The QUEEN rises from her chair, kisses the PRINCE and brings him to the SAGE.

GUARDIAN. Our little child, by the grace of God, is growing marvelously, do you not think so?

SAGE (takes the child and kisses it.) Yes, he is. (Holds him close to him.)

GOVERNESS. The Prince enjoys playing. He loves his little pony and does not allow anyone to touch it.

SAGE. Does he put his mind to his studies?

GUARDIAN. It is difficult to take the Prince from his play for his studies, but once he is studying he does it wonderfully well.

QUEEN. I don't know what would be the best way of bringing up our little child. I have been thinking about it very much lately

SAGE. It is a great responsibility, beloved. Even the shadow of an undesirable person falling upon our child would make an impression on him.

QUEEN. Does the child no bring with it at birth some inner tendencies and qualities?

SAGE. Yes, it does, yet they can be rubbed off by its experience on the earth. They can be covered by impressions it receives coming here. To bring up a child is like molding a new world. For it is in man that God wakens to life.

QUEEN. Beloved, why are you looking sad today? Is there anything you need? I will procure all that wealth can bring, power can possess and love can supply-all you wish to make your life happy.

SAGE. I am homesick, precious Queen.

QUEEN. Are you not at home then? I never thought that you had another home.

SAGE. Yes, I had-solitude. It grieves me immensely to tell you, beloved Queen, that I have received a call to the wilderness, which is my kingdom. I must go.

QUEEN (holds his hands and weeps.) You are not going, beloved, you will not go…

SAGE. Now the hour has struck, precious Queen, that I should depart to roam about in the wilderness.

QUEEN. I will follow you to the end of the world!

SAGE. No, beloved Queen, it is your duty to bring up this child to be the ruler of this kingdom. Destiny had arranged it so that he should be my son to reign over this country with wisdom and justice.

(The QUEEN weeps; all present are sad. The SAGE embraces the QUEEN kisses his son, takes off his crown and put it on the head of the child. The mother cries and holds the child, weeping. Then he asks for his old mantle and takes off his kingly robe; he puts on his old rosary and his sandals.)

SAGE.(to himself.) This is the picture of life: tarry here awhile and then depart.

(He waves his hand and blesses all.)

CURTAIN

THE MAHARAJA

PURAN (his son)

THE MAHARANI (wife of the Maharaja)

NAEKA (a court dancer)

SAHELI (Naeka's maid)

VAIRAGI (an ascetic Sage)

TWO COURTIERS

TWO MUSICIANS

PAGE

TWO KAZAKS (executioners)

FOUR ROBBERS

WOMAN FRUIT SELLER

TWO LABORERS

BOY selling halva (sweets)

OLD MAN

PEASANT WOMAN, selling buttermilk

MERCHANT, with his wife

MOTHER, with four children

MAGICIAN

The MAHARAJA is seated on cushions. A servant waving a fan. FIRST COURTIER on his left hand; SECOND COURTIER on his right hand. Musicians singing and playing.

MAHARAJA. ( after first song.) Khan Saheb, which raga did you sing?

MUSICIAN. It is Dipak, Huzur, the song of fire.

MAHARAJA. But the fire has not yet broken out!

MUSICIAN. Pardon, Huzur, it is just kindled; it will come to a blaze.

(Enter PAGE.)

PAGE. Maharaja! Naeka, a dancer of most exquisite beauty whose skill has amazed all the great artists of the country, awaits your Majesty's orders.

MAHARAJA. (turning to SECOND COURTIER.) Do you know her? Is she really wonderful?

SECOND COURTIER. She is beauty itself. The color of her skin is like a champak flower. With deer's eyes she penetrates the hearts of her admirers. Her swift movements are as graceful as those of the cobra. With a nightingale's voice she sings, enchanting those who hear.

MAHARAJA. (to the PAGE.) Bring her.

(Enter NAEKA; she greets the MAHARAJA.)

MAHARAJA. Have you caught your beauty from the rose?

NAEKA. Pardon me, Maharaja, the rose has borrowed its beauty from me.

MAHARAJA. (smiles.) Show me your wonderful skill, Naeka, I have heard so much about it.

(NAEKA performs the dance of the flower girl, with gestures of picking flowers and making them into a wreath; she then takes a real flower garland, dances with it and at the end put it around the neck of the MAHARAJA. He takes her hands and holds them to his breast, drawing her nearer. She hangs back, turning away her head.)

(Enter PAGE. NAEKA returns to her place.)

PAGE. Your Majesty, Prince Puran is coming to pay his respects before going for a ride.

(Enter PURAN, greets in the royal manner, bending low and touching the ground. NAEKA, struck by the beauty of the Prince, touches her heart while looking at him.)

MAHARAJA (to PURAN.) Are you going on horseback, son? Have you finished with your studies?

PURAN ( embarrassed, with a half smile.) I intended taking some hours from my studies to be alone with nature.

MAHARAJA (ironically.) Oh, yes.-Do not stay away too long.

(PURAN leaves; NAEKA shows her emotion in her movements and expression, acting as if she felt inclined to follow him; she takes two or three steps, then recovers her senses, passing her hand over her head as if to throw off her thought.)

MAHARAJA (after PURAN has left, to FIRST COURTIER.) Why is it that he does not put his mind to study? What does he do?

FIRST COURTIER. He likes to be with nature; and when at home he is frequently seen in his mother's company.

MAHARAJA. I scarcely see him!

FIRST COURTIER. He does not enjoy hunting, wrestling, boxing; he is happy wandering alone with nature.

MAHARAJA. We must keep an eye on him!

FIRST COURTIER. Prince Puran is not addicted to any vices-drinking, smoking, or any other such habits. The Prince is different from the young men of his age; he is not attracted by frivolities and stands for ideals and principles.

SECOND COURTIER. It is natural; to what a family does he belong!

FIRST COURTIER. He is simple, but most intelligent at the same time; he does not care for reading or writing, but he thinks.

MAHARAJA (smiles.) What does he think? Does he think of the moon?

(Wine is brought on a golden tray; the MAHARAJA gives it to NAEKA; the COURTIERS give it to the MUSICIANS , and the MAHARAJA passes the wine over to the COURTIERS.)

FIRST MUSICIAN. To the glory of the Maharaja!

(All present repeat.)

MAHARAJA (to NAEKA.) Now open your wings and fly, beautiful bird.

( NAEKA dances. The MAHARAJA moves his head to the rhythm of the dance. NAEKA going round and round, falls into a swoon; raising hands, balancing as if she might fall. The MAHARAJA rise from his seat and goes to her, makes a sign to the COURTIERS to leave. COURTIERS and MUSICIANS depart; the MAHARAJA holds NAEKA to his breast. When she opens her eyes; she turns her head and waves her hand towards the door by which the Prince has left.)

MAHARAJA. One jasmine kiss.

(She responds and he kisses her.)

CURTAIN

Scene 2

Drawing room in the new home of NAEKA near the palace. NAEKA putting kohl on her eyelids, touching her lips with red paint. SAHELI holding a mirror before her, standing.

SAHELI. Bai, Providence has granted you comfort, jewels, the sweet little pavilion the Maharaja has given you; besides you have his love. There's nothing more on could wish , and yet I scarcely see you smile. Has an evil eye fallen on you ? Maybe you are worrying about something. If only I knew what troubles your mind. - I would give anything in the world to see you smile again!

NAEKA. Yes, I have everything that one could need, but I wish I could love him. I can't say I love him. His nearness is loathsome to me. Besides, I cannot accustom myself to his requirements. He asks me to abstain from any kind of frivolity with men.

SAHELI. Yes, because he loves you. You are a born artist, excuse me, Bai! (Smiling with a humorous expression and with gestures.) You belong to those charming women who are inclined to love one and to like another, to mile at one and to sign to another, o caress one and to pet another, to kiss one and to embrace another.

NAEKA. Am I really charming?

SAHELI. Certainly, Bai, you know you are. There is the woman who has charm for many, and there is the woman who has charm for one, and there is another woman, like myself, who has charm for none. Your vanity has been fed, Bai, by the attention of many admirers.

NAEKA. From my early youth I have grown up playing, making friends, singing and dancing. I attracted young men like a magnet, and so I have never been starved of attention.

SAHELI. This life must seem strange to you, Bai, but you will grow used to it.

NAEKA (shaking her head.) No, never.

SAHELI. You will change like the season when the time comes.

NAEKA. This life is like a prison to me. I am like a bird in a golden cage. (Weeping.) I would rather be a free dancer than a queen in captivity.

SAHELI (wiping her eyes and kissing her.) If I was admired by the Maharaja as you are, I should walk to him on my hands. (NAEKA smiles.) You are too young yet to know what it is to be loved by the Maharaja. Every dancer in the country envies you the privilege. Now the Maharaja has made you the court dancer, but (whispering in NAEKA'S ear.) one day you might become queen.

NAEKA. That is all I want, to be queen one day. Yet I wish it were Puran and not he.

SAHELI ( holding her head with both hands in a great fright; then, touching her lips with her finger.) Ah, seal your lips, it can be most disastrous!

NAEKA (rises from her seat and looks out of the window.) There he goes on horseback. Saheli, I pray, will you call him? Say I have something to talk over with him. Bring him here, won't you, Saheli, please?

(SAHELI gets up and runs to call the Prince. When she is alone, NAEKA acts as if she wonders if he will come or if he will not come, and how she will approach him, and what she will say to him; embarrassed and afraid, excited and dumbfounded, she awaits his coming.)

(Enter PURAN)

PURAN ( to NAEKA.) Did you call me?

NAEKA. Yes, I did call you, Puran. Come in, sit here. (Giving him a seat next to her. He sits, shy, with downcast eyes.) I admire your beautiful horse. It seems to be proud of its handsome rider.- Tell me, why is the Maharaja not pleased with you? I would do anything to make him more favorable to you.

PURAN. Father's pleasure is all I seek. When I cannot please him, I realize my unworthiness.

NAEKA. You unworthy! How can you say that? You are the worthiest son any father could have. If you were the king, people here would be happier than they have ever been. Our people will rejoice, seeing you one day sitting on the throne with the crown on your head.

PURAN. May father live and reign forever!

NAEKA (whispering.) I would be the one to stand by you if ever a struggle arose. (With determination, raising her finger.) Know, Puran that you always have someone to give your confidence to. I can be hard as a rock when it comes to a test.

PURAN(looks bewildered.) What do you mean?

NAEKA Your mother must be most beautiful.

PURAN. My mother's beauty cannot be observed by every eye.

NAEKA. Is she old?

PURAN. Her soul is older still.

NAEKA. No, doubt, she loves you very much.

PURAN. She is for me God's compassion on earth.

NAEKA (reluctantly.) I am your father's favorite (smiling) but I am young enough to be your love-mate. (PURAN still more perplexed.) Puran, why are you silent, why do you not talk to me? (She puts her arm in his, caressing his hand, draws closer to his face.) Puran, have you ever know, or heard, or seen the outburst of the heart's volcano? (PURAN rises; she rises also and holds his hands.) Think what you will, say what you will, but let once my lips touch yours; what will be, will be. (She throws her arms around him and kisses him; sees the MAHARAJA coming behind PURAN. She loosens her hold and pretends to be fainting. PURAN leaves hurriedly, not seeing his father.)

MAHARAJA (raises her up, one hand on his dagger, in a rage.) What is this?

NAEKA (throws her head on his breast and puts her hand on his shoulder.) Your son, your son!

MAHARAJA. My son? He is not my son! He cannot be my son! How dare he come here? Did he not know that I care for you? He is a disgrace to my name. (He lays NAEKA down on cushions; she lies motionless.)

MAHARAJA (to SAHELI, outside.) Send for the kazaks. (He takes his own scarf and tears it.) Tear him, destroy him!

(Enter two KAZAKS, NAEKA sits up with staring eyes, listening.)

KAZAKS. Command.

MAHARAJA. Arrest Puran!…Flay him, cut his head off, bury him alive, throw him into the sea, do whatever you choose, that I may never see his face again!

(NAEKA trembles, falls down in despair. KAZAKS depart.)

MAHARAJA. Saheli!

(Enter SAHELI.)

MAHARAJA. Rosewater. (SAHELI runs and brings it, sprinkles it on NAEKA'S head. The MAHARAJA, holding her with his left hand, fans her with his silk handkerchief.)

CURTAIN

 

Scene 3

The jungle at sunset. A bitter cry of a woman behind the scenes.

WOMAN'S CRY. My beloved son, my only son!

A DEEP VOICE. Mother, mother, do not despair.

HARSH VOICES. Come on, come on. Linger no more, here.

( PURAN is pushed on the scene by the two KAZAKZ, then stands calmly.)

FIRST KAZAK. You're head's to be chopped off here.

SECOND KAZAK. Your bones will dry here in the sun.

PURAN. I am perfectly resigned to my father's command, if only you will allow me one moment to pray.

FIRST KAZAK. No, it can't be done.

SECOND KAZAK (to FIRST KAZAK.) No, let him, let him.

FIRST KAZAK. Do it quickly. We must return before sunset (pointing at the red sky), with your head to be brought to the Maharaja.

(PURAN kneels down, with palms joined, his head slightly raised.)

FIRST KAZAK. Let's take a little drop. (They drink from the bottle.)

PURAN. God, with clear conscience and with pure heart, I lay before Thee record of my life's deeds. No one have I ever offended, to no one have I caused any harm. Clear away, Lord, my father's misconception of me; comfort the sad heart of my loving mother. And forgive the one who unintentionally brought this about. I pray Thee, Lord, bless them all. Amen.)

(He bends his head low. To KAZAKS.) Now I am ready.

FIRST KAZAK (to SECOND KAZAK.) You do it.

SECOND KAZAK. You strike (Both unsheathe their daggers.)

FIRST KAZAK. You do it.

SECOND KAZAK. No, you.

FIRST KAZAK (goes to PURAN and makes a violent thrust with his weapon; when it nearly touches PURAN'S head, his hand becomes paralyzed.-To SECOND KAZAK) No, you do it!

SECOND KAZAK. I will. (He twists and turns, and moves passionately around, preparing himself to strike. He raises his hand with great strength. When the dagger is near PURAN'S head, the KAZAK'S hand trembles and he throws his weapon away. Calls FIRST KAZAK and makes gesture.) Let him go.

FIRST KAZAK (with expression of fright, whispers.) No, what will the Maharaja do to us?

SECOND KAZAK. We shall see.

FIRST KAZAK ( raises PURAN, holding his hand.) Now, young man, we let you go; but go far, far away.

(PURAN bows and leaves.)

FIRST KAZAK (to SECOND KAZAK.) It's all right.

SECOND KAZAK. He was innocent.

FIRST KAZAK. But what shall we say to the Maharaja?

SECOND KAZAK. That he is dead and buried!

(Both laugh, holding their stomachs, looking in the direction that PURAN went.)

CURTAIN

 

ACT II

Scene 1

The city gate at dawn. The moon is still shining. A VAIRAGI in Samadhi, sitting on a tiger skin, with a snake round his neck, between the road and the city wall. Two ROBBERS sitting on a rock on the right, at the side of the road.

FIRST ROBBER. Thank goodness, we had some luck last night; and a good escape. But what about the other two? Why haven't they returned?

(The SECOND ROBBER stands up and looks in the distance.)

SECOND ROBBER. They may come any moment (Silence.) There they are. (Pointing.) Do you see?

FIRST ROBBER. They seem to have stolen at lot; see the heavy burden they are carrying. (Silence.) But it is a man!

(The two ROBBERS rise and go some steps forward.)

SECOND ROBBER. Hallo, what have you brought?

(Enter THIRD and FOURTH ROBBERS.)

THIRD ROBBER. Brought our ill luck.

FOURTH ROBBER. We've never had so bad a trip since we began. When passing through the forest we saw in the distance the face of a beautiful woman. We were delighted at the prospect of good luck. As we went near, what did we find? This wretched man.

THIRD ROBBER. He had gone hungry, I suppose, for many days. He had nothing with him.

FOURTH ROBBER. We thought to save him from the wolves and picked him up in order to sell him at the slave market for twenty thousand dirams.

THIRD ROBBER (To the first two ROBBERS.) Yes, he (pointing to the FOURTH ROBBER.) had great dreams about this bargain, but it all turned out to be nothing.

FOURTH ROBBER. He was not so bad at first when we took him along with us.

THIRD ROBBER. We should have left him on the way when we saw he was too ill to follow us; but you insisted that we should carry him through the forest. Here, we've tired our arms and legs, and now he's worse than before, perhaps on the point of dying.

FIRST ROBBER (frightened.) Be careful. If the police see us with him, they'll arrest us for his death.

(The four ROBBERS, shocked, leave the body and escape. An old WOMAN FRUIT SELLER, hurrying to the market with a straw tray of fruit on her head, knocks against the body of the PURAN, is frightened and bends down.)

WOMAN FRUIT SELLER. What is it? Who is it? (looks at him.) Poor man, he's dead perhaps.

(TWO LABORERS pass with spade and fork on their shoulders, on their way to the fields They stop to see what is going on.)

WOMAN FRUIT SELLER. Poor man, what's happened to him? Is he dead? (Holds her finger to his nostrils.) He's still breathing.

FIRST LABORER. What shall we do?

SECOND LABORER. Let's out him near the Vairagi; he'll take care of him.

( The LABORERS life the branches on which the body was carried and bring it before the Vairagi.)

WOMAN FRUIT SELLER. Baba, Baba, look at this man; help him, Baba, help him! (She takes her tray of fruit and runs quickly to follow the men.)

VAIRAGI (opens his eyes, bends low and looks at PURAN, gently puts his hand in the middle of his breast and breathes on him. PURAN opens his eyes.) Yes, awake, awake, awake.

(PURAN moves head and body.)

PURAN. Yes.

VAIRAGI. Now, you rise, rise ( he lifts him) rise.

(PURAN has risen and sits. VAIRAGI puts his hand in the brass pitcher next to him and wets PURAN'S forehead. PURAN brightens up.-Morning breaks while this is happening. People are coming from both directions: a Boy with halva, an Old Man, a Woman with buttermilk, a Merchant with his wife, a Mother with four children. They all stand still, looking curiously at the scene before them.)

A CHILD. There's a tiger, it's looking at us!

(The three other children come nearer.)

ANOTHER CHILD. (frightened.) Oh, look at the snake! (Draws closer to is mother.)

OLD MAN (with important voice to the children.) The snake is the sign of wisdom.

WIFE ( to MERCHANT.) What is the matter with young man?

HUSBAND. Life is a mystery.

OLD MAN (important.) Life is a problem. (Nodding his head as if approving of what he

said. Looks at the VAIRAGI for his opinion.)

VAIRAGI (making gesture.) All this amazing Maya. There four days of moonlight and

then comes the dark night. The vision of Maya is the dream of morality. (PURAN listens attentively.) When the screen is removed from your eyes, you will se that nothing here belongs to you; the honor that cannot be sustained long, the name that will in time be forgotten, the treasure that will one day be snatched from your hands, the comfort that will no more by yours, are of little value.

MERCHANT. But the thousand rupees I have buried will not be taken away by anyone!

VAIRAGI. You will say: this I hold, that I possess; but in reality nothing belongs to you,

not even your own body.

MAN WITH SPADE. (with an expression of doubt.) Then we must have nothing?

VAIRAGI. The day when you have nothing, you will have everything.

MERCHANT. So we must leave the pursuit of the world:

VARAIGI. When you cease to follow the world, the world will follow you.

MERCHANT. Then what must we do?

VAIRAGI. Realize the One, rising above duality; burn your false ego to ashes,

and powder your skin with the ashes.

MERCHANT. Do you mean to say we must give up all this?

VAIRAGI. Hold on till it gives you up.

SECOND LABORER (ironically.) Then you think the whole of life is meaningless?

VAIRAGI. It is meaningless until you have understood the meaning of it.

MERCHANT. Baba, is life on earth worthless?

VAIRAGI. The moment you recognize its worthlessness, life becomes worth living.

(MAGICIAN enters, his eyebrows painted white, his forehead painted red.)

OLD MAN. Now you have spoken about life, Baba, but what about death?

MAGICIAN (emphatically.) What are you asking him? What does he know of life and

death? Can he make the dead alive? (With gestures.) I can cut myself and heal instantly; and I can kill myself and waken to life. I can drown myself and rise upon water. Now, you all who listen, leave him alone and follow me. I can get you anything: health, wealth, success, power, pleasure, all.

OLD MAN. Let's see this fellow, what he's going to do .

(All, one after another, follow the MAGICIAN.)

THE BOY WITH HALVA (the last remaining of the crowd, pointing at the VAIRAGI.)

Nothing doing with him.

(The VAIRAGI is left with PURAN.)

PURAN. They are like a flock of sheep.

VAIRAGI. Such is the way of the world.

PURAN. Master, all you have said has deeply touched me. Pray grant me the privilege of serving you, that one day I may deserve to attain Vairagi.

VAIRAGI. Vairagi my son, is freedom from all bondage. Are you drawn by family ties?

PURAN. No, Guru, except the deep devotion I have for my mother.

VAIRAGI. Have you any ambition for wealth or rank.

PURAN. I have none, though I was born in a position to have it all.

VAIRAGI. The way of the mystic leads to the goal of annihilation. Will you keep to the path steadily in the face of all earthly temptations, young man?

PURAN. Yes, Guru, by your help I shall gain the strength that will carry me through.

VAIRAGI. I will take you on probation, son, for a limited period, during which you will pass through many tests.

PURAN (bends down to the feet of the VAIRAGI.) I surrender myself to your inspiring guidance.

(The VAIRAGI lifts PURAN up, holds him for a moment, gives him his mantle to wear; the rosary he was holding he puts around PURAN'S neck, then touches his forehead with water from his pitcher and blesses him with both hands stretched over his head.)

CURTAIN

NAEKA'S drawing -room.

NAEKA standing before the mirror, putting on her earrings. SAHELI holding the tray of jewels.

NAEKA. Since the loss of his son, the Maharaja is most depressed. Did you hear anything about the Maharani?

SAHELI. I have heard she hardly eats and never speaks, and only moans during her sleep. While awake she calls the name of her son: Puran, Puran! She has aged so much that one can hardly recognize her, and she has almost lost her sight by weeping. Did you hear about Puran's garden, Bai, which has been neglected for all these years since he went? Many trees died and plants withered away. Wolves were making their home in the place where the Prince lived. But now they say that a wanderer has come there. He sits under the shade of a tree; and since he sprinkled a few drops of water from his pitcher, the whole garden has flourished again. People go in hundreds and thousands to see him. (Looking out of the window.) There he is, going along, do you see, Bai?

NAEKA. Who?

SAHELI. The sage of whom they talk so much in the city.

NAEKA (also looking out of the window.) He is the sort of man who can read one's fortune. Saheli, I pray, call him here.

SAHELI (anxiously.) Oh, Bai, if the Maharaja knows I called a stranger here, he will give me to the vultures!

NAEKA (smiling.) Go, it will be all right.

(SAHELI leaves. NAEKA goes to the mirror and arranges her hair,-Enter PURAN, wearing a flowing beard, in the mantle the VAIRAGI has given him, with the rosary round his neck. Both sit down.)

NAEKA. When I saw you I though you might see into my problem and help me out of it.

(PURAN listens. The MAHARAJA enters, and seeing NAEKA speaking to a stranger is shocked and stands still, looking at what is going on.)

NAEKA. The Maharaja, who has loved me so long, I believe is losing interest in me.

PURAN. What do you think is the reason?

NAEKA. In the beginning he was blindly in love with me, but suspecting his son in connection with me, he condemned him to death, and since then he seems as though his heart were becoming frozen.

(The MAHARAJA holds his heart and hangs his head back with half-closed eyes, remembering the incident.)

PURAN. And what did the Maharani do?

NAEKA (reluctantly.) She was most grieved at the loss of her son.

PURAN. What is she doing now?

NAEKA (with hanging head, weeping.) She has almost lost her mind thinking about him.

PURAN. I wish to see her. Will you please send for her?

NAEKA. I wish to see her. Will you please send for her?

NAEKA. Immediately?

PURAN. Yes, now.

(NAEKA calls SAHELI, whispers something in her ear.)

PURAN. Now tell me, was Puran really at fault?

NAEKA. That I can't say; my lips tremble, my heart fails.

PURAN (looking in her eyes.) Tell me.

NAEKA. I could not have told anyone in the world, but I cannot keep any secret from you. I know you look into my soul.

(The MAHARAJA listens eagerly; NAEKA weeps.)

NAEKA. It was my fault; I wanted to be queen, but young Puran's wife, and one day my heart burst out before him, and he refused. But the impression the Maharaja got was that he made love to me. In a fit of anger he condemned his son to death.

(SAHELI brings the MAHARANI, dressed simply; she puts cushions for her to sit on the right of PURAN.)

MAHARANI (as if she were speaking in a dream.) Why did you bring me here? Why am I brought here?

PURAN. What have you to say?

MAHARANI (nervously straightens as if hearing a familiar voice.) I long to see my son.

NAEKA. But he is dead.

MAHARANI (agitated.) No, he is living.

PURAN (whispering.) He is living dead.

MAHARANI. This voice, this is his voice. (Stands up, draws nearer to PURAN, stretch out her hands.) I want to look at you. (She feels his hand, cries.) My Puran, you are my Puran.

PURAN. Mother.

(They embrace, NAEKA is horrified.)

MAHARANI. I wish to see you.

(PURAN puts his two hands over her eyes. She looks at him, and kisses him.)

MAHARAJA (steps forward-NAEKA faints.) Do my eyes deceive me; are you really there? My son! Puran! I never thought I would ever see you again. (Stretches his hand upwards.) Thanks, Providence! (To PURAN) Will you ever forgive me? I can never forgive myself for the pain I have caused you.

PURAN. Father, I am always your son.

MAHARAJA. What more do I want? I have had my day. Now you reign over this country.

PURAN. No, father; I am going in search of another kingdom.

CURTAIN

 

UNA

 

Una

The Statue

Una’s Mother

Una’s Father

Helen

King Tut

First Queen

Second Queen

Sultana

The Queen of Sheba

Dante

Beatrice

Yusuf

Zuleikha

The Emperor Akbar

A Greek Philosopher

An American Indian

A Workman (M. Jules Ferrier)

A Snake Charmer

Butler

Guests

Una’s studio

Enter Una, who has been long absent

Una. It is a breath of joy indeed to be once again in my studio, away from all the turmoil of life. It is a joy, which is beyond words. It is a happiness, which cannot be found anywhere else. – My studio has been neglected for such a long while. I have been occupied with no end of things, busy answering life’s unceasing demands. But whenever I find time, my one and only thought is to come here and be myself again. Home has no joy for me, nor do I find happiness anywhere else. No one understands me, and all those whom I know are absorbed in their own lives. – Every step I take I am drawn back, and all that I try to hold breaks, for it is rotten; the rock I seek to rest upon crumbles, for it is made of sand. In the world’s fair everything I purchase costs more than it is worth, and if I have anything to sell I get nothing for it. By the continual pinpricks that I feel through life, my heart is riddled. O life, you are indeed a puzzle; the only solace I have is in my art. (Takes one of her tools in her hand.)

My tools, you are the companions of my solitude! (Looks up at the glass roof.)

The sun, the glorious sun, is sending its rays to lift my heart to cheerfulness.

My statue, how long it is since I have touched you!

Here is someone calling already before I have even begun to work!

(Opens the door. Helen enters.)

Helen My dear Una, I have been looking everywhere for you! Where have you been all this long time? Were you hiding from your friends? If so, be sure we shall find you in the end. You can’t run away and hide from us!

Una I did not mean to hide. After a long time I just had a moment to come to my studio. I have not even begun to work yet.

Helen (looking at the half-finished statue) Is this something that you are working at? Dear me, what a dull occupation! Can’t you find anything else to do?

Una (perplexed and speechless)

Helen (continues) Una, dear, you spend hours at this useless work in this solitary studio. I can’t understand how you can do it!

Una (after a moment’s pause) My dear girl, when have I any time to work? All day I am busy at home. At night I lie awake for hours, thinking how to make both ends meet. You know that my parents are no longer able to be responsible for the household? They have both aged very much, and it is upon me alone that the care of the house depends. Yet whenever I have a moment I come here and try to find oblivion in doing this work, the only thing I really care for.

Helen You simple girl, is this the work you live for! I wouldn’t give that much (snapping her fingers) for work that brings nothing better. It is simply a waste of time! Excuse me for telling you so.

Una Art seldom brings any material returns. Besides, to expect any would be to me like offering beauty in the marketplace.

Helen I can’t understand how you can shut yourself up in this solitary place! If I had no one round me to talk to, life would become so monotonous that I should not know what to do with it.

Una Well, I am happy only when I am by myself. I don’t want anyone to talk to. Silence is never long enough for me.

Helen Well, you certainly are a riddle! Now tell me the truth, Una, did you read the Daily Gossip this morning?

Una You know quite well that I don’t read the papers. I have too much to do. And besides, I am not particularly interested in the sensational stories in the newspapers. They generally say one thing in the morning and quite the opposite in the evening.

Helen Do you know the rate of exchange today?

Una Whether money goes up or down does not make much difference in our lives when we live from hand to mouth day by day. Moreover, the idea of profiting by the loss of another has always been foreign to my nature.

Helen Do you know he name of the new mayor who has just been elected?

Una No, indeed I don’t. My dear girl, I live in quite another world from yours.

Helen You certainly are behind the times. Last night I was at a ball given by Mrs. Wilkins. Everybody in the town who is anybody was present. There was music and dancing all night and great fun. There is a Founders’ Ball coming off next week, and Auntie is on the committee. She has asked me to help her. Everyone has been asked to come disguised as someone they think they were in their past lives. Won’t that be amusing?

Una (smiles)…

Helen You will come, Una dear, won’t you? Though I know that you always avoid social functions. But all the local papers are talking about this. Do come, please.

Una Society life is for people like you, Helen, not for me.

Helen Una, I really wish you were not living such a retired life. What is the good of life if you don’t live it?

Una I am not at all interested in society. I prefer the life of a humble artist.

Helen It seems that no one can change your ideas, Una. I must be going now. I’m sorry to have kept you so long from your work. Now be sure and come to the ball. Au revoir.

(They kiss. Exit Helen.)

Una. I don’t know why people can’t leave me alone! They live their own lives; why can’t they let me live mine? (Sighs) Well, I suppose that is the way of the world.

Una. (opens the door) Father, is that you! Yes, I’m here. I had a spare moment, so I thought I would come and try to finish some work I was doing here. (Leads her father in, holding his arm, and seats him in an armchair.) Well, Father, what have you come to tell me?

Father. My dear child, you are wanted at home, as your mother is not well. When you are out everything goes wrong. Besides, I have never liked the idea of your being an artist. In our family, as you know very well, we have never had any artists; and there has never been any wish for any of the family to become artist. Our people look upon it quite differently from you. As for myself, I never could have imagined you an artist.

Una. Dear Father, those are the old ideas. Now science and art are the great qualifications of the age. And you know, dear Father, I do not do this as a profession; it is my love for art, which makes me take it up.

Father. Una, my child, though we have been for some time in straitened circumstances, yet we have always considered our dignity. Your mother is depressed, and very often feels sad to see you so unlike the other girls in our family, who go into society.

Una. Father, my society consists of the little works of art which are round me in this studio. I feel at home here, and every moment while I am working here I am happy.

Father. My dear child, there are many things in the world besides art which are to be sought in order that one may be really happy. If you never see anyone, no one will ever know you. There are many other things in life, if you will seek for them. Art is all very well to amuse oneself with, but it is not everything that one needs in life.

Una (remains silent. After a moment) All I need, Father, is to make you and Mother happy in every way I can. That is the only thing that interests me in life; and if I have any personal interest, it is in my art.

Father. My child, I must go home and look after your mother. She is not at all well. Come as soon as you can.

Una. Yes, Father dear, I will.

(They kiss, and the Father goes out.)

Una. Never a moment have I to concentrate on my work! How true it is that the world of every soul is different; for the life of one is not the life of another. I wish I could be here and continue my work, but life in the world has so many duties that one cannot ignore them and at the same time live happily.

--Well, I must hurry, or I shall keep poor Father waiting. My work, when shall I be free to come to you again, especially now that I have to make preparations for this ball? (Puts away her tools and leaves for her home.)

Mother’s bedroom. Mother ill in bed. Una enters, embraces her mother.

Una. Dear Mother, I was sorry to hear that you don’t feel well. No sooner had Father left the studio than I hurried to see how you were. As much as I love my art, I do not wish to be away from home, Mother dear, when you are not well.

Mother. Dear Girl, with us old people there is always something wrong; one moment we feel well, the next moment we don’t. What worries me is to see you going only in one direction. The art to which you are so devoted is to us a foreign word. For you know, however poor we may be in our family, there is no such thing known among us as an artist.

Una. Dear Mother, it is not that I love art in order to become an artist. I don’t want to become anything; it is beauty that I love.

Mother. My simple child, beauty is to be seen in nature; you need not go to art in order to see beauty. Besides, as they say: "The country is made by God, the town is made by man."

Una. Dear Mother, I have always felt that what is not completed in nature is finished in art by the Master of all things. The hand of the artist is guided by the eyes unseen.

Mother. But what do you gain by devoting all your time to something in which you don’t wish to make your career? You must think of the future, my dear girl!

Una. Mother dear, we all make our future with whatever we do. But it is the future that will tell what we made. Life to me is the making of something; it only depends what we make. We each make something; it is we who make our highest ideal.

Mother. What do you mean by ideal, my dear child? There is no such thing, my darling girl. Ideal is not to be found in this world. You are yet too young, my darling, to know this. When we were young, we thought also of ideals, but alas, in the end we found that it was only a word.

Una. You are right, Mother, there is never an ideal to be found under the sun, if we do not make it. It is we who, out of our own selves, give all that the ideal wants for it to become an ideal. What we make remains; what we are is destroyed. Rumi says, in his Masnavi, "Beloved is all in all, the lover only veils Him; Beloved is all that lives, the lover a dead thing." One creates a heart out of a rock; another turns a heart into a rock.

Mother. Say simple things, my dear girl. This is all confusing to me; what your mother wants is your welfare, your happiness. This is all we wish for you, I and your father both.

(Enter Father.)

Father. Are you here, Una? Get ready to go to the ball. Have you forgotten you were invited to go to Mrs. Wilkins’ house?

Una. I had quite forgotten, Father. Thank you for reminding me. I’ll just go and get ready. (She embraces her mother and departs.)

Ballroom in Aunt’s house.

Aunt, assisted by Helen, receives the guests, who are announced by the names of the characters they have assumed. Shah of Persia, King Tut, Queen of Sheba, Emperor Akbar, Greek Philosopher, Dante and Beatrice, Yusuf and Zuleikha arrive and are announced and received by Aunt and Helen.

(Enter First Queen of Egypt.)

Butler. The Queen of Egypt, consort of King Tut.

(Enter Second Queen of Egypt.)

Butler. The Queen of Egypt, consort of King Tut.

First Queen (to Second Queen.) You were not the consort of King Tut. I was his consort.

Second Queen. Not at all, it is I who was his consort.

First Queen. Nonsense! You don’t know what you are saying.

Helen. Let’s ask him which was his Queen. He has just risen from his grave. (She is seen asking King Tut.)

King Tut (looks slowly and carefully at both Queens. Scornfully) I don’t thing that either of them has ever been my Queen. (Turns away.)

(Enter American Indian. Helen greets him.)

Helen. Were you an American Indian in your past life?

American Indian. No. I don’t know what I was in the past, but for the last twenty years I have had an American Indian guide.

Helen. Do you mean a living guide?

American Indian. No, a spirit.

Helen. How did you find a spirit guide?

American Indian. I began by hearing taps at the door for a year before this guide appeared to me, and since then he is always with me.

Helen. How wonderful! And what does he look like?

American Indian (with importance) Just like me!

(He walks about and is welcomed by all.)

American Indian (to First Guest) Are you a medium?

First Guest. No.

American Indian (to Second Guest) Are you psychic?

Second Guest. Not yet.

American Indian (to Aunt) Are you a clairvoyant?

Aunt. I don’t even know what you mean by clairvoyant.

American Indian. If you want to know you must go to a seance and hear the trumpet medium. (Continues conversation.)

Butler. Monsieur Jules Ferrier!

(Enter Ferrier, a workman, looking nervous. Aunt greets him, and introduces him to Helen.)

Helen. How extraordinary! Among all the kings and queens you come as a plain workman! Were you that in your past life?

Workman. I don’t know anything about my past life, and I only know what I was in this one before I joined the Four Hundred.

Helen. And what was that?

Workman. I was a workman.

Helen. But have you always been a workman?

Workman. No, before that I was a barber in England.

Helen. And before that?

Workman. Oh well, before that I was a chimney-sweep.

Helen. You amusing man! But how did you get into society?

Workman. Oh, I made a lot of money in the war, and now I am invited and received everywhere. But, to tell you the truth, I don’t like the life. I feel out of place. I feel lonely, too, and I should like to marry. Do you know of any nice girl to introduce me to?

Helen. Have you been married before?

Workman (nodding his head and looking mysterious) The past is past; the present is present; it is the future that we look forward to!

Helen. I asked if you had been married before.

Workman (impatiently) Suppose I had been married twenty times before, what about it just now?

(At this moment Una is announced. While Helen greets her, the Workman looks at her with interest.)

Helen. What a pleasant surprise to see you at last? Are you really here? I can’t believe my eyes? But why aren’t you dressed? What are you supposed to be?

Una. Myself.

Helen. Yourself! What do you mean by that?

Una. Self means always self; it cannot mean any other.

Helen. You have the queerest ideas, my dear! (Aside) What fun it would be to introduce that odd man and this simple girl to each other. I will, presently.

(Snake Dance)

Helen (to Workman) There is a young lady over there whom you would like. I am going to introduce you to her.

Workman (eagerly) Right you are! I am sure I should like her! For among all these kings and queens we’re the only two who are dressed simply.

(Helen introduces them to each other. The Workman holds out his hand, but Una draws back slightly; then puts out her hand, but without looking at him.)

Workman. I’m glad to meet you, Miss.

(Una remains silent, her eyes cast down.)

Helen. Now you two must excuse me, I have other things to do. (She leaves them. They sit down.)

Workman. I wonder, Miss, how it happens that among all those who are here, only you and I are so simply dressed. I suppose you don’t know your past incarnations any more than I do mine? I am so glad to have found you among all these smart people.

(Una, still silent, looking down.)

Workman. Can you dance, Miss? Everyone can but me, it seems. I should not mind trying if you would be my partner, for I am sure we should make a good pair.

Una (as if waking from a dream) Dance? I never dance. (Aside) I feel my soul dance when my body is still.

Workman (to himself) She seems to be in the clouds. I’ll try my luck.

(Enter Helen.)

Helen (to Una) Please come and sing, or dance.

Una. Don’t ask me to take part in it. I am enjoying looking on.

Helen. But do take part!

Una. The spectators alone know reality.

Helen. Come and do something.

Una. What shall I do?

Helen. If you can’t sing, recite something.

Una. Very well. (She recites)

"I have loved in life and I have been loved.

I have drunk the bowl of poison from the hands of Love as nectar, and have been raised above life’s joy and sorrow.

My heart aflame in love set afire every heart that came in touch with it.

My heart hath been rent and joined again.

My heart hath been broken and made whole again.

My heart hath been wounded and healed again,

A thousand deaths my heart hath died, and, thanks be to Love, it liveth yet.

"I went through Hell and saw there Love’s raging fire, and I entered Heaven illuminated with the light of Love.

I wept in love and made all weep with me,

I mourned in love and pierced the hearts of men,

And when my fiery glance fell on the rocks, the rocks burst forth as volcanoes.

The whole world sank in the flood caused by my one tear,

With my deep sigh the earth trembled, and when I cried aloud the name of my beloved, I shook the throne of God in Heaven.

"I bowed my head low in humility, and on my knees I begged of Love,

‘Disclose to me, I pray thee, O Love, thy secret.’

She took me gently by my arms and lifted me above the earth, and spoke softly in my ear,

‘My dear one, thou thyself art Love, art lover and thyself art the Beloved whom thou hast adored.’"

Workman. How nice, Miss! I enjoyed your poetry so much. I could not understand what it was all about. What interested me was one word. You know what that was, don’t you?

Una. No, which?

Workman. "Love," that is all there is to think about. All these people here are all interested in the same thing – love.

Una. I do not know it yet. To me it seems a blasphemy to hear it on the lips of ordinary people. I don’t know a being on earth who is an example of this word.

Workman. You are talking of big things. I don’t mean that at all. What I know about love is to be cheerful and gay. See how happy the other people are. Why should not you and I be the same?

Una. Gaiety is not my way of being happy. What are these pleasures to me?

Workman. You are too serious for me. What’s the use of being so melancholy?

Una. If I do not join in the gaiety, it does not mean that I am melancholy. I seek happiness in myself.

Workman. But I want you to seek it in me. For you know how I feel when I look at you. You are trying to hold me off by talking so brilliantly, but you look so beautifully when you are sad that I feel like kneeling at your feet. But you know that the thing I want most in the world is to see you laughing.

Una. You can see many people here laughing. You must enjoy it with them. (To herself) Poor man, why does he not look for his gaiety somewhere else?

(Turns away and leaves him. Walks across stage. Stands still.)

Una. O human nature! It is a continual study to see the different directions that the mind takes. Yet how few there are whom you can really call human beings. Alone at home, alone in the society of others – I suppose to be alone is my lot. And it never wearies me. Life in the world is most interesting to me, but solitude away from the world is the longing of my soul.

(Minuet)

Una’s studio

Una (addressing the Statue) Beloved Image, the ideal of my soul, thou hast been conceived in my soul and I have nursed thee with my tears, until thou hast manifested to my vision. When thou art before me, my Beloved, I rise upon wings and my burden becomes light, but when my little self rises before mine eyes I drop to earth and all its weight falls upon me. Did I make sacrifices for thee? No. Thou art the outcome of my love. How long, how long shall I wait to hear a word from thee? Whether here or elsewhere I have worked for thee and thought of thee alone. Dear, dear Image, thou art the ideal of my heart. O speak to me! My heart patiently awaits thy word, deaf to all that comes from without. O thou who art enshrined in my heart, speak to me! I have yearned to hear thy voice if it were but once.

Statue. Yes, I speak, but I speak only when thou art silent.

Una. Thy whisper to the ears of my heart moves my soul to ecstasy. The waves of joy, which rise out of my heart, form a net in which thy living word may swing.

Statue. Thou hast found thy happiness in working in this place which is my world. Thou didst first imagine my existence, as I lived in thy imagination; now thy imagination has become a reality and my existence has become truth. So thou madest me to be the masterpiece of thine art. Now I am the result of thine art, and in finishing me thou fulfillest the purpose of thy life. Dost thou love me? Then first learn what love means. Love means sacrifice, one continual sacrifice from the beginning to the end. I come to life only when thou becomest dead.

Una. I would willingly die a thousand deaths, if by dying I could gain thy beloved presence. If it were a cup of poison thy beloved hand offered, I would prefer that poison to the bowl of nectar. I value the dust under thy feet, my precious one, most of all treasures the earth holds. If my head could touch the earth of thy dwelling place, I would proudly refuse Khustrau’s crown. I would sacrifice all the pleasures the earth can offer me, if I could only retain the pain I have in my feeling heart.

Statue. (holds out a bowl) I offer thee this cup of poison. Take it if thou wilt.

(Una takes the cup. Falls down as though dead)

Statue. (raises her in his arms, embraces her and kisses her, and brings her to life again) Awake! Awake! (She opens her eyes.) Thou hast gone through death, but hast not died. The sacrifice thou madest did not after all rob thee of thy life. It has only raised thee above death. Now thou art living with my life. It is thy love, which hath given thee the life after death, a life to live forever.

Una. Thy light hath illuminated the dark chambers of my mind. Thy love is rooted in the depth of my heart. Thine own eyes are the light of my soul. Thy power worketh behind my action. Thy peace alone is my life’s repose. Thy will is behind my every impulse. Thy voice is audible in the words I speak. Thine own image is my countenance. My body is but a cover over the soul. My life is thy very breath, my Beloved, and my self is thine own being.

Curtain

AMIN, THE FAITHFUL TRUSTEE

AMIN-A boy of nine years in Act I, Scene 1; twelve years in Act I, Scene 2; a man of twenty-five in Act II

HALIMA - His foster-mother

TALIB - His uncle

MUTAL - His grandfather

KARIMA - His aunt, Talib's wife

ALI - His cousin, a little older

TEJA - A wealthy and distinguished woman, older that Amin, and whose business manager he becomes; afterwards his wife.

JOHLA - Teja's maid

HUMADAN - Teja's uncle, an old man.

Three Boys, playfellows of Amin

Shawl seller

Customer

Woman fruit-seller

Boy

Rich man

Three Slave-girls

Dancing Girl

Two Accompanists

Medium

Young Man

Woman in Mourning

Palmist

Young Woman

Wayfarer

Two Priests

Police Officer

Soldier

Maid

Woman Artist

Two men with gifts

Twelve Travelers

Two Inhabitants

Four Companions of Amin

The Chief of Yemen

Chief's Colleague

Constable

The Sheriff of Mecca

Four Governors

Envoy of Hedjaz

ACT I

AMIN. My little one, you feel drowsy today, don't you? I'll give you a bath in the pool and then take you in the sun, so that you'll feel cheerful.

(Enter several BOYS.)

FIRST BOY. What are you doing, Amin? Always busy with the home and farm, isn't he? We've come to play a game today; now what shall we play?

SECOND BOY. Yes, let's play kus kus.

(BOYS play, AMIN leading. One boy pushes another, who falls down and hits him back. AMIN reconciles them. They continue the game. After it is finished, they rest, sitting on blocks of wood.

THIRD BOY. Do you know, Amin, what great fun we had on our way here! There was a camel laden with dates. We made a hole in the sack and took out a lot of dates. See, we all have our pockets full. Would you like some? (AMIN smiles.)

FIRST BOY. I'm sure you would; take some!

AMIN. No, I won't take any.

SECOND BOY. Why? Don't you like them?

AMIN. Yes, I like dates, but I don't like this way of taking them. It isn't fair.

SECOND BOY. Fair! Ha! ha! ha! (All the boys laugh.) What is fair and unfair in these few dates? You're a funny fellow, Amin.

THIRD BOY. Do you know, Amin, we've planned to go to town today to have a jolly good time.

AMIN. I'm sorry, I can’t come with you today. Halima has been out since morning and she left me in charge of the farm. So you see I can't come.

FIRST BOY. Why must you be tied to home because Halima said so? My mother this morning wouldn't let me go, but do you think I would be detained by her? I simply told her I must go. She grumbled a bit and then quieted down by herself. Why can't you do the same? Halima is not your mother.

AMIN. Halima is my foster-mother and I must listen to her as I would to my own mother. Besides, I am entrusted with the home; therefore I won't leave my charge.

SECOND BOY. Well, then we are going, that's all; please yourself!

(BOYS go off.- AMIN busies himself with domestic duties. Enter HALIMA.)

HALIMA. My sweetheart, what have you been doing? I am so sorry I was detained in town, Amin; there was such a crowd today at the market; I tried to hurry, but I couldn't get back sooner. Look, what I've brought. (Taking out of her basket tomatoes, pineapple, and sugar-canes.) You didn't go with your playmates today?

AMIN. They came to fetch me, but I couldn't go as you had asked me to look after the farm.

HALIMA (kisses his forehead.) My darling, it is so sweet of you to think of your Halima. (She sighs deeply, raising her head, then looking down.) Bless his mother.

AMIN (speaks in a broken voice.) Halima, where has my mother gone? Shall I see her again? ( HALIMA is silent for a moment.) Do you they ever come here again, who have passed away, or do they never return: What is death, Halima? It always puzzles me. Why do people die? Because they're ill, or because they're called away? Are they always lost to the world? Can anyone see them? I should so much like to see mother!

HALIMA (in tears.) Your father was called away first, my darling, even before you were born. If was afterwards that your mother followed in to heaven, peace by on her! How delighted would you father be to see you now, if he were alive; and how much you mother would have rejoiced to watch you grow, sweetheart! It tears my heart to think of it.

AMIN (sadly, looking down.) But what can one do to find those one has lost, Halima? Is there any way of meeting them?

HALIMA. They say those we love are never far away, even if they have gone to the other side of life! Those who really love must someday meet again, even if it is after death. Life is a mystery, my darling child; one cannot say much about these matters. You are too young yet to think of such things. You will know when the time comes.

AMIN. When will that time come, Halima? I should so much like to know all these things.

HALIMA. If won’t be long, my child. When one thinks how quickly the days pass, years slip by before we look at them. One day you will be grown up and will think out things as every thoughtful man does. It is only a matter of time.-Now go and take a look round the farm; see if everything is in order.

(AMIN goes, HALIMA sits down.)

HALIMA. What a privilege it is for me to bring up this orphan! What trust his mother- peace be on her-gave me! but it is a responsibility, a great responsibility to bring up this child who is unlike anyone.

(Enter TALIB.)

TALIB. Here I am, Halima. Did you send for me?

HALIMA. Yes, Talib. Come in, sit comfortably.

TALIB. It is long indeed since I saw you last. How are you getting on? Nicely, Halima?

HALIMA. No woman on the earth could be as privileged as I am, having charge of this darling child. I have never seen or known a boy like Amin, your nephew, bless him! He is so affectionate and tender, so thoughtful and considerate that never a cross word have I heard from him. At moments I have been impatient with him, but he never talked back at me. He is most affectionate to the children of his age, gentle with all who come here; he has regard for his elders. Young as he is, he thinks like a much older person. Indeed, he is an old soul. His feelings are deep, and yet he is so innocent that very often I notice in him something of his babyhood. I cannot always understand him. Most of the time he is nearer to me than my own heart, yet at times he seems to be so far away in the clouds that I cannot reach him. He is always a mystery to me. Yet he has an acute sense of humor; he is quick to see the comic side of things. He is often energetic and lively. To have him in my home is the greatest joy to me. He helps me to forget life's woes; making my life's burden easy for me to bear.

TALIB. Where is Amin? Please call him.

(HALIMA calls AMIN and leads him to his uncle.)

HALIMA. Do you know who this is, my darling? This is Talib, your uncle. Your mother's last wish was that you should be given into his care. (To TALIB.) This is the treasure that was entrusted to me. Now I give him into your arms, as it was his mother's wish that he should be brought up under your parental care. (Crying.) I don't know what will become of me when he is gone!

(TALIB holds AMIN'S hands and looks at him.)

TALIB. Well, son, are you willing to come with me? Your aunt is eagerly waiting for you at home, and your grandfather has longed to see you ever since you were born. And then, there is your cousin who will be so happy to have you as his playmate.

( HALIMA embraces the child and cries. TALIB takes his hands.)

HALIMA. I give this trust to you. (Turning to AMIN.) God be your protection, my darling child.

CURTAIN

Scene 2

TALIB'S house, KARIMA, his wife, sewing, MUTAL, his father, smoking a water-pipe.

MUTAL. Amin is so quiet that it does not seem that another boy has come to live the house. His influence seems to make even Ali quieter.

KARIMA. Though he is so quiet, it seems he has brought sunshine into our home. In spite of his quietness there is something lively in him which makes Ali more bright than he has ever been. no wonder his mother had many wonderful dreams before he was born, giving good tidings. Now that I see him, I begin to see the meaning of her visions, significant in his unfoldment.

MUTAL. His father, peace by on him, was simple and yet so intelligent that he was a glow of which Amin is the blaze.-Do the boys get on well together?

KARIMA. father, since Amin has come, Ali has become quite different. Ali follows every turn that Amin takes. Ali seems to be so much more thoughtful and happy since the coming of Amin. They seem to blend with one another as sugar and milk.

MUTAL. Amin, with all his gentleness, is steady and firm, and so Ali, however energetic, responds to his influence.

KARIMA. Father, it is interesting to watch them grow fond of one another, more so every day.

(ALI enters with a lot of leaves.)

ALI ( to KARIMA.) I have found these leaves after all; I had to go far into the forest to fetch them, but I wouldn't have come home without them!

KARIMA. Child, you must not go far into the woods, Very often one meets wild animals there.

ALI. I am not afraid of wild animals. I would fight if I met any.

(MUTAL laughs. ALI busies himself with the leave. Enter AMIN.)

KARIMA. Where have you been, Amin?

AMIN. I was learning. I have learnt many words today. I am very anxious to learn to speak better. (to ALI.) What are you doing, Ali?

ALI. I am preparing wreaths for the gods of Ka'ba, for there are very few left before the annual celebration of our gods.

AMIN. I don’t like to call these idols of stone gods, Ali. I don’t know why I have never liked all they make of stone gods. I can't enjoy the feasts. It all seems to me foolish.

ALI. You mustn't say so, Amin. If father hears it, he won't like it. Grandfather told me many times that we must look with reverence on the gods of Ka'ba.

AMIN. I don't know, Ali, why I feel like this, but I can never feel sympathetic towards these hideous gods, and I feel a kind of revolt against all the fuss that is made of them. I sometimes feel like breaking them up into pieces. I can't understand why people go crazy about them by hundreds and thousands.

ALI. I can’t understand them either, Amin, but it is our religion; we must not say anything against it.

AMIN. I tell you, Ali, I can't follow such a religion; it only amuses me, it is all so funny.

(ALI laughs.)

MUTAL. What's the joke, boys?

ALI. Amin is wondering about the religious festivals; they amuse him.

AMIN. Yes, I don't feel interested in all they make of the stone gods; it all seems to me childish. People might as well choose to do something else. I should think there is much to be done.

MUTAL. It is a custom, child, our people have observed for ages.

AMIN. Has this custom always been among people, grandfather?

MUTAL. No doubt, in the beginning the stone of Ka'ba was set there by our ancestor Abraham when he was returning from Egypt after his initiation in the ancient mysteries. He set this stone here as a token of his initiation, making it a center of pilgrimage for the children of Beni Israel. The line of our family, son, is traced back to Ishmael. Neither Abraham nor his son Ishmael worshipped the idols of many gods. It was afterwards, I suppose, in order to draw more people to the Ka'ba, that these idols were placed there. However, this has long become the religion of our people; they expect to see at the Ka'ba the gods of their families. If it were not for these festivals, there would be no interest left in our religion.

AMIN. What is meant by religion, grandfather? Isn't it faith rather than form?

MUTAL. It is a most difficult question to answer, my son, Besides, you are yet too young to think about these subjects. There is so little one can say in these matters, and the less said, the better it is.

(Enter TALIB.)

TALIB (to ALI.) Please, Ali, go and tell the man to make the camel ready for me to start on my journey.

(ALI goes.)

TALIB (to AMIN, resting his hands on his shoulder.) I am going on a long journey to Syria, on business, Amin.

AMIN. I will come with you.

TALIB. I would not think for a moment of taking you with me, my son, for it is a long journey, miles of land in the desert to be crossed, all sorts of hardships one goes through, and one meets with many dangers on the way.

AMIN. (embracing his uncle.) Uncle dear, please take me with you on your journey. I do wish to travel. I do not mind what difficulties I may have to experience on the way.

TALIB (looks at AMIN'S eager face for a moment.) I will take you, my child; go and get ready.

( KARIMA takes AMIN to prepare him and brings him back. AMIN and TALIB bid goodbye to all present and depart.)

CURTAIN

Scene 3

A bazaar at Jerusalem. A SHAWL-SELLER bargaining with his CUSTOMER. A thief putting his hand into the pocket of the man who is busy purchasing. CUSTOMER examines the quality of the stuff in his hands.

SHAWL-SELLER. It's four dirams a yard.(CUSTOMER throws the stuff at him and goes away. The SELLER follows, pulling his robe.) Two dirams, two dirams a yard.

CUSTOMER. No, no. No, no.

SHAWL-SELLER. All right, one diram; take it.

CUSTOMER (takes the stuff and puts his hand in his pocket.) Someone has taken my money. Police, police!

( An old WOMAN FRUIT-SELLER walking with a basket full of fruit under her arm.)

BOY (to the WOMAN.) How much for a kouri?

WOMAN. One Vazan

BOY. Too dear, too dear! Are these sweet cherries?

WOMAN. Sweet as sugar.

(BOY puts his hand into the basket, takes a cherry and puts it in his mouth. WOMAN looks at him with disgust. BOY puts his hand again into the basket. The WOMAN pushes his hand off. The BOY upsets the basket and all the fruit falls on the ground. Other street-boys come and seize it.)

( A dancing girl comes, scantily dressed, with accompanists. The crowd follows her and gathers around. A musician pushes the crowd back with his instrument, making space for the dance. A spectator, unwilling to be pushed back, shows fight. The musician makes as if to strike him; the man lifts a stone to throw at him. Many bystanders clapping their hands to the rhythm of the dance, the accompanist singing, people merry-making. At the end of the dance many throw kisses to the girl.)

(A MEDIUM standing in concentration with closed eyes by the side of a mosque.)

WOMAN (to MEDIUM.) I beg you, I pray you, will you communicate with my daughter and tell her that from the moment she died, food and drink have become as poison to me. I weep all day and I am sleepless at night. I would like to know how she is over there; is she happy.

MEDIUM (moves his head round and round, raising the pupils of his eyes upwards.) I see, I see your daughter. O, she is happy, more happy than she has ever been.

WOMAN. Do you see? I am so glad. Please ask her, is there anything she is in need of?

MEDIUM. She has everything she wants there. But she is attached to all the beautiful clothes and jewelry she had here, and she wants all that over there.

WOMAN. O, I would be willing to give anything, anything, if I only knew how to send it there!

MEDIUM. I will take things for you if you want me to, when I go there at night; you only have to bring them to me. (The WOMAN goes.)

(Enter YOUNG MAN.)

YOUNG MAN (to MEDIUM.) I had a dream my father, who died recently, is not happy in heaven.

MEDIUM. Wait, I will write a letter to the keeper of the heavens.

YOUNG MAN. Please.

MEDIUM (writes a letter; then reads.) ' Brother Israel, the father of this young man, Faruk ibn Kalil, died on the 5^th of Ramadan, and is now in your world. Give him two trees of plums and one tree of pears, a tank of honey and a fountain of milk,

with ample supply of bread and meat.' (To YOUNG MAN.) Now what will you pay?

YOUNG MAN. Five dinars.

MEDIUM. No, that is not enough for all I have asked in my letter.

( The YOUNG MAN gives the dinars. The MEDIUM seals the letter with his thumb, licking it and pressing it on the paper, and winks while sealing it.-The WOMAN returns with a box of jewelry and a sack of beautiful clothes. Hands them over to the MEDIUM.)

WOMAN. I have brought not only my daughter's jewels and clothes but all I had, that may take them from me to my daughter. I want her to be happy. I am so thankful to you for all you are going to do for me.)

(A PALMIST sitting with his astrological chart spread over his lap.)

PALMIST to a YOUNG MAN.) Come here. (The YOUNG MAN comes near.) Sit down. Show me your hand. (Pointing with his finger to his palm.) Very distinct and long line of fortune; but you will not get it yet. And here (Point to thumb.) A beautiful wife; but there will always be a quarrel in the home. (Looks at center.) Some relative will leave great wealth for you. But you will have a hard time in getting it.

YOUNG MAN. But tell me, shall I have good luck in the business I am going to start today?

PALMIST. Pay five dinars, please. (The YOUNG MAN does so.) There are some planetary influences standing in opposition to your work, but I will make things right for you.

( A YOUNG WOMAN, moving about through the crowd, covering her face from a gay WAYFARER, looking at him out of the corner of her eye.)

WAYFARER (pulling the sari from her face.) One, just make it one.

(She looks annoyed. He kisses her and walks away.)

BEGGAR (scantily dressed, with patched sleeves and a tin pot in his hands.) Please one penny; be ye well!

A MAN. Go further!

( A WOMAN selling three slave-girls. A MAN, richly dressed, with his companion, examines the slaves.)

MAN. How much?

WOMAN (shows ten on her fingers. He shows five.) Ten, ten. (He gives ten dinars, takes the slave-girl along with him.)

(Enters two drunken PRIESTS.)

FIRST PRIEST. HoHh How many prayers did you say this morning?

SECOND PRIEST. I said only one prayer because he didn't bring me more than one bottle of liquor. I say only one prayer each bottle.

FIRST PRIEST. That is why you are always drunk.

SECOND PRIEST. You're crazy.

FIRST PRIEST. You're mad.

(They fight. POLICE OFFICER arrests them both.)

FIRST PRIEST (gives the POLICE OFFICER a purse.) Let me go, let me go!

POLICE OFFICER (changes his attitude, bows to the PRIEST who gave him the money. ) High priest! (Goes away with the other one.)

(AMIN with TALIB passing through the bazaar, halting at every step, observes keenly the degenerate condition of the place.)

AMIN. Uncle, does no one tell these people to act differently? Have they always been like this? This life does not interest me; there is something in it, which does not seem to me to be right. Have they never been told to do better?

TALIB. Child, in this worlds one cannot expect things to be better than they are. People have been taught the way of righteousness by the great souls who have come, time after time, to guide the children of the earth. But when some years pass and the real way is forgotten, then a period of disintegration comes and people degenerate. It is sad to think that human beings should fall beneath the level of the beasts, and yet there is nothing to be surprised at, for man can rise higher than an angel and full lower than the devil. As it is said, 'When a glimpse of Our Image is caught in man, when Heaven and earth are sought in man, then what is there in the world that is not in man? If one only explores him, there is a lot in man.'

AMIN. But what is this that one dislikes in the, is it evil? Then how does it differ from good?

TALIB. Good and evil are relative terms, my son. Evil is nothing but the lack of good. Nevertheless, good is real and evil is its shadow. When one believes this and tries to bring out in another the good there is in him, one finds that no soul, however, wicked, is void of goodness. To understand all is to forgive all.

(AMIN is deeply impressed by all he sees at the bazaar and by all his uncle says.)

CURTAIN

Drawing room of TEJA'S house. TEJA seated; JOHLA, her maid, in attendance. Thirteen years have passed; AMIN is now twenty-five.

JOHLA. Bibi, I beg your pardon, tell me why for some time I have noticed that you don't seem to be altogether here. You seem to be somewhere else. You don't mind my asking this; but as I feel sad with you, I should know what is the matter. Excuse me for asking you.

TE