The Mob. Galsworthy John

break into music. MORE goes towards the sound, and draws aside one curtain. After a moment, he returns to the table, and takes up the notes of the speech. He is in an agony of indecision.

      MORE. A cur!

      He seems about to tear his notes across. Then, changing his mind, turns them over and over, muttering. His voice gradually grows louder, till he is declaiming to the empty room the peroration of his speech.

      MORE… We have arrogated to our land the title Champion of Freedom, Foe of Oppression. Is that indeed a bygone glory? Is it not worth some sacrifice of our pettier dignity, to avoid laying another stone upon its grave; to avoid placing before the searchlight eyes of History the spectacle of yet one more piece of national cynicism? We are about to force our will and our dominion on a race that has always been free, that loves its country, and its independence, as much as ever we love ours. I cannot sit silent to-night and see this begin. As we are tender of our own land, so we should be of the lands of others. I love my country. It is because I love my country that I raise my voice. Warlike in spirit these people may be – but they have no chance against ourselves. And war on such, however agreeable to the blind moment, is odious to the future. The great heart of mankind ever beats in sense and sympathy with the weaker. It is against this great heart of mankind that we are going. In the name of Justice and Civilization we pursue this policy; but by Justice we shall hereafter be judged, and by Civilization – condemned.

      While he is speaking, a little figure has flown along the terrace outside, in the direction of the music, but has stopped at the sound of his voice, and stands in the open window, listening – a dark-haired, dark-eyed child, in a blue dressing-gown caught up in her hand. The street musicians, having reached the end of a tune, are silent. In the intensity of MORES feeling, a wine-glass, gripped too strongly, breaks and falls in pieces onto a finger-bowl. The child starts forward into the room.

      MORE. Olive!

      OLIVE. Who were you speaking to, Daddy?

      MORE. [Staring at her] The wind, sweetheart!

      OLIVE. There isn't any!

      MORE. What blew you down, then?

      OLIVE. [Mysteriously] The music. Did the wind break the wine-glass, or did it come in two in your hand?

      MORE. Now my sprite! Upstairs again, before Nurse catches you. Fly! Fly!

      OLIVE. Oh! no, Daddy! [With confidential fervour] It feels like things to-night!

      MORE. You're right there!

      OLIVE. [Pulling him down to her, and whispering] I must get back again in secret. H'sh!

      She suddenly runs and wraps herself into one of the curtains of the bay window. A young man enters, with a note in his hand.

      MORE. Hello, Steel!

      [The street musicians have again begun to play.]

      STEEL. From Sir John – by special messenger from the War Office.

      MORE. [Reading the note] "The ball is opened."

      He stands brooding over the note, and STEEL looks at him anxiously. He is a dark, sallow, thin-faced young man, with the eyes of one who can attach himself to people, and suffer with them.

      STEEL. I'm glad it's begun, sir. It would have been an awful pity to have made that speech.

      MORE. You too, Steel!

      STEEL. I mean, if it's actually started —

      MORE. [Tearing tie note across] Yes. Keep that to yourself.

      STEEL. Do you want me any more?

      MORE takes from his breast pocket some papers, and pitches them down on the bureau.

      MORE. Answer these.

      STEEL. [Going to the bureau] Fetherby was simply sickening. [He begins to write. Struggle has begun again in MORE] Not the faintest recognition that there are two sides to it.

      MORE gives him a quick look, goes quietly to the dining-table and picks up his sheaf of notes. Hiding them with his sleeve, he goes back to the window, where he again stands hesitating.

      STEEL. Chief gem: [Imitating] "We must show Impudence at last that Dignity is not asleep!"

      MORE. [Moving out on to the terrace] Nice quiet night!

      STEEL. This to the Cottage Hospital – shall I say you will preside?

      MORE. No.

      STEEL writes; then looking up and seeing that MORE is no longer there, he goes to the window, looks to right and left, returns to the bureau, and is about to sit down again when a thought seems to strike him with consternation. He goes again to the window. Then snatching up his hat, he passes hurriedly out along the terrace. As he vanishes, KATHERINE comes in from the hall. After looking out on to the terrace she goes to the bay window; stands there listening; then comes restlessly back into the room. OLIVE, creeping quietly from behind the curtain, clasps her round the waist.

      KATHERINE. O my darling! How you startled me! What are you doing down here, you wicked little sinner!

      OLIVE. I explained all that to Daddy. We needn't go into it again, need we?

      KATHERINE. Where is Daddy?

      OLIVE. Gone.

      KATHERINE. When?

      OLIVE. Oh! only just, and Mr. Steel went after him like a rabbit. [The music stops] They haven't been paid, you know.

      KATHERINE. Now, go up at once. I can't think how you got down here.

      OLIVE. I can. [Wheedling] If you pay them, Mummy, they're sure to play another.

      KATHERINE. Well, give them that! One more only.

      She gives OLIVE a coin, who runs with it to the bay window, opens the aide casement, and calls to the musicians.

      OLIVE. Catch, please! And would you play just one more?

      She returns from the window, and seeing her mother lost in thought, rubs herself against her.

      OLIVE. Have you got an ache?

      KATHARINE. Right through me, darling!

      OLIVE. Oh!

      [The musicians strike up a dance.]

      OLIVE. Oh! Mummy! I must just dance!

      She kicks off her lisle blue shoes, and begins dancing. While she is capering HUBERT comes in from the hall. He stands watching his little niece for a minute, and KATHERINE looks at him.

      HUBERT. Stephen gone!

      KATHERINE. Yes – stop, Olive!

      OLIVE. Are you good at my sort of dancing, Uncle?

      HUBERT. Yes, chick – awfully!

      KATHERINE. Now, Olive!

      The musicians have suddenly broken off in the middle of a bar. From the street comes the noise of distant shouting.

      OLIVE. Listen, Uncle! Isn't it a particular noise?

      HUBERT and KATHERINE listen with all their might, and OLIVE stares at their faces. HUBERT goes to the window. The sound comes nearer. The shouted words are faintly heard: "Pyper – war – our force crosses frontier – sharp fightin' – pyper."

      KATHERINE. [Breathless] Yes! It is.

      The street cry is heard again in two distant voices coming from different directions: "War – pyper – sharp fightin' on the frontier – pyper."

      KATHERINE. Shut out those ghouls!

      As HUBERT closes the window, NURSE WREFORD comes in from the hall. She is an elderly woman endowed with a motherly grimness. She fixes OLIVE with her eye, then suddenly becomes conscious of the street cry.

      NURSE. Oh! don't say it's begun.

      [HUBERT comes from the window.]

      NURSE. Is the regiment to go, Mr. Hubert?

      HUBERT.