Class Book. f Gopyright]^?. COPYRIGHT DEPOSnV NOWADAYS A CONTEMPORANEOUS COMEDY BY GEORGE MIDDLETON Author of Embers, Tradition, etc. ** But O how different from reality Men's fiction is ! how like you in the plan Is woman, knew you her as we ! * ' A Ballad of Fair Ladies in Revolt NEW YORK HENRY HOLT AND COMPANY 1914 ^ .-^^1 1 \^ Copyright, 1913, 1914, BY GEORGE MIDDLETON Copyright in Great Britain and Ireland, and in all countries subscribing to the Bern Convention. Published February, 1914 This play in its printed form is designed for the reading public only. AH dramatic rights are fully protected both in the United States and Great Britain, and no performance- professional or otherwise— may be given without the written permission of the author and the payment of royalty. All public readings are also forbidden, without written permis- sion and payment of royalty ; application should be made to the author through the publishers. THE QUINN * BODEN CO. PRESS RAHWAY, N. J. FEB 171914 <0)C!.D 36040 + To my friend PAUL KESTER whose name tells all to those who know him this book is affectionately dedicated PREFACE The general growth of interest in the published play and the generous consideration shown ray earlier volumes have encouraged me to ofter this longer study of contemporaneous life to the reading public There are obvious reasons why many plays are refused production, or fail to find ideal interpretation upon the stage for which every play should primarily be written. The demands and caprices, too, of our over-stimulated theater are such that financial success is not necessarily the indication of a play's merit, nor does financial failure, which may be likewise due to a variety of causes, imply that a play is unworthy. But the printed page, whether a play succeeds or fails, aifords the dramatist some record of his endeavor. Through publication he renders his work accessible to those who may not have had the opportunity of seeing it produced: through publication he makes his bold or futile bid for consideration in the dramatic literature of his time. As in Embers and Tradition , from several plays of which I have drawn the inspiration and suggestion of certain ideas and scenes, I have sought in Nowadays to reflect some spirit of the moment as expressed in the shifting standards of man and woman in relation to each other. My personal word to the reader would not be complete without a tribute to my wife, whose free spirit has gone into the making of this play. G. M. New York, October 29, 19 13. NOWADAYS ACT I HIS SON AND DAUGHTER CHARACTERS William Dawson, general plumbing contractor. Belle, his wife, Diana Dawson, their daughter, a sculptress, Sam, their son. Peter Row, a reporter on " The Times.*' Oliver Hardman, a member of the "Academy," Betty Howe, " of around the corner,*' Nellie, an old family servant. SCENES Act I His Son and Daughter, At the Dawsons'. After dinner, an evening late in December, Act II His Wife, The same Scene, The following morning, Sunday, Act III Mother, At Diana*s Studio, Late September following. The Scene of the first two Acts is laid in the suburbs of a small Capital City of a middle Western State. The last Act is in New York City, ACT I General living-room at the Dawsons'. After dinner, an evening a few days before Christmas, The architecture of the room, with some modern innovations, suggests the period of i860. Two long French windows at the right, now heavily curtained, are supposed to open on a porch, beyond which the lake and the Capitol might be seen. In the center a large doorway, with topping, opens on the wide hallway which serves as a general entrance; the stairs are seen beyond this. There is a comfortable fireplace with a marble mantel covered by a heavy lambrequin at the left just beyond the door which, when opened, discloses a small back stairway to the floor above. A small ** Rogers '* terra-cotta statuette of a man and woman — properly clothed — is by the window. Near this is a large covered table, with trade magazines and a lighted lamp: a sofa at its right and a chair at the left. There is also a large grandfather chair — obviously a relic — facing the fire. The walls contain some steel engravings and a family portrait of Dawson's father, hung by thick red rope-cord and fastened to white knobs, after the fashion of an earlier generation. Upon the mantel is a glass-incased gilt clock, A large 5 6 NOWADAYS chandelier in the center of the roonij hung fairly high, is strangely innovated with electric lights. Some sim- ilar light brackets are on the u/alls. In the right upper corner is a heavy desk with large drawers. The electric switch is near this. Other furnishings, a foot- stool, etc., must add to the stability and comfort of a room long lived in. There is a log fire burning with logs on the side. Strong winter moonlight flows through the curtains, when they are pulled aside. The hallway without is also lighted. Dawson, Mrs. Dawson, and Sam are discovered. Dawson is reading the headlines of " The Times!* the town newspaper, between puffs of his pipe. Mrs. Dawson is seated near him, sewing. Sam is stretched out lazily in the grandfather chair by the fire, smoking a cigarette. Dawson, a well-preserved, domineering though not unkindly man, is about sixty. His obvious prosperity, achieved through hard application, adds authority to his well-defined opinions. He lacks the conscious external refinements of his wife but possesses the force and character which have won the respect if not the love of the town, where he is ranked as one of the *' best people.*' Mrs. Dawson is a woman of tenderness, capacity, and understanding, who has become somewhat quiet and repressed under her husband's attitude toward their family life. She is about fifty, charming and reposeful in manner at first, though suggesting a quiet power which, when exerted, is gradually to lose its / NOWADAYS 7 timidity of expression and to become strong and assertive, Sam, their son, is about twenty-six, handsome, well- groomed, and attractive in appearance, though his man- ner is flippant and not pleasing. He suggests weakness rather than baseness of character. He has followed the line of least resistance until it has developed into a rule of conduct which adds a sinister shade to what would otherwise be mere uselessness. Dawson Did you ever hear such rot ? " What Eight Million Women Want." And it isn't in the funny column, either. Belle. (Reading) " Eight Million Women Supporting Themselves " Bosh! Exaggeration. You can't believe anything you see in the paper these days. Nothing but women and politics. What's come over "The Times" anyway? (Turning to front page) "Woman's Suffrage Edition." Bah! One of Peter Rov^^'s brilliant suggestions, I suppose. " Why Should Servants Work All Day?" Bah! These bachelors. Mrs. Dawson ■ Will you let me see it, dear, when you're through? Dawson Of course. (He folds it up deliberately and puts it in his pocket, pressing it safely there. He goes to the 8 NOWADAYS desk.) Put another log on the fire, Sam. (Sam does not move.) {Enter Nellie. She is thin and emaciated but full of wiry strength. Her long years of service with the Dawsons have dulled neither her ability nor capacity. She has the fidelity that often earns more responsibility than leni- ence — though she has long since felt herself part of the family, which has naturally given her the right to certain familiarities,) Nellie Will I save dinner for Diana any longer? Dawson {Looking at his watch) No; daughter can't be coming now — if she's coming at all. Just like her not to let us know the train. Nellie X" {Eagerly) ' Oh, Mrs. Dawson, do you think she'll come back ^ home ? Mrs. Dawson One never knows what Diana will do. {Wistfully) I hope so. NOWADAYS 9 Dawson / Turn this light on, Nellie. I can't see. {She pushes switch near him and he leans over so Mrs. Dawson wont hear) Nellie, burn this newspaper. Nellie I'll save it and read it myself. (He takes it back and puts it in his pocket again.) Sam Nellie, put a log on the fire. Nellie All right, Sammy. Mrs. Dawson {Displeased) Nellie's been working all day. She's tired. Sam {Blowing rings of smoke) So am I, mother. (Nellie puts on a log. She gets a footstool also and places it under his feet.) \ \ Dawson {To Nellie) Did the Christmas wreaths come? lo NOWADAYS Nellie Not yet, Mr. Dawson. I Mrs. Dawson Shall I help you with the dishes, Nellie? Nellie No, Mrs. Dawson. IVe got them scraped and in \hot water. \ (Nellie exits.) Mrs. Dawson Can't the Christmas things wait till to-morrow, Will? Dawson {Positively) Always have hung them three days before Christ- mas, always will. Sam Mother, I wish you'd ask Nellie not to call me " Sammy. » Mrs. Dawson She's done that ever since you were a little boy. Sam Well, it's too familiar. NOWADAYS II Mrs. Dawson It's hard to change settled habits, Sam. Sam {Half to himself) You couldn't change a dollar bill in this house. Dawson {Testily at desk) Where's that brown envelope? Mrs. Dawson {Calmly) Wherever you put it. Dawson You know how I hate to have things changed — Oh, here it is. {He takes out a long legal envelope and comes down to Sam) I want a word with you, Sam. Straighten that desk out will you, Belle dear; that's a good girl. {She puts down her sewing and straightens out desk but listens quietly to the following) This stands for the work of my life and your grand- father's. Sam {Sarcastically) Oh, it's the plumbing business? 12 NOWADAYS Dawson Yes. " Dawson*s " ; *' General Plumbing Contrac- tor." It's kept us all — {Looking at it fondly.) My work. Tied up in a piece of legal paper. I'd like you to have a share in it with me, Sam — as a Christmas present. It's a Junior partnership. Sam Partnership ? Dawson It's yours if you'll come home now and learn to carry it on as I did. Sam {Half disgusted) Stay here in this town? Dawson What did you expect? Sam I thought you said it was a present. Dawson Wanted you to have it after you left college, but college didn't seem to agree with you. NOWADAYS 13 Sam I figured if you hadn't needed a college education to be a success, I didn't. Dawson I guess you didn't know how disappointed I was. So I've waited, staked you while I let you have your fling in the city. Boys will be boys. But you haven't set the place on fire. Sam Arson isn't popular now. Dawson Isn't it time to come in out of the wet? Sam I hate trade. (Dawson draws himself up.) Oh, I know. You and grandfather were brought up on_ plumbing supplies. But / don't wish to be a con- tractor. ^^~~ — Dawson {Hurt) Don't worry, Sam. I won't make you stay here this time any longer than your Christmas visit. Sam {Quickly) If it's hurting your feelings I'll take it in cash. [14 NOWADAYS Dawson It's not for sale. (To Mrs. Dawson) He won't take it, Belle. Mrs. Dawson {Looking up) Remember, you always said it was a boy^s place to go out into the world and choose for himself. Dawson (With some acceptance) Well, maybe you'll see it difEerently in a year or so. Sam Sure. (With a sudden thought) But, meantime, you'll not dock my allowance for having the cour- age of my convictions? Dawson Oh, don't fear. I'll carry you till you get on your feet. Sam (Relieved) There are good things to be said for trade. Dawson (Turning firmly) Another year of it. That's all. Understand? That's all. And then (Significantly) we'll see. NOWADAYS 15 Sam ( To himself, pleased) (Another year. Dawson But don't you go making a fool of yourself about any woman. Sam (Startled) Father, I Dawson I mean getting married or doing worse. Sam (Nervously) Why, what would you do? Dawson If Fm paying your bills, don't try me. That's all. (To Mrs. Dawson) Are other people's children like ours, Belle? We didn't act like this to our parents, did we? (As he replaces the envelope and locks drawer) And Diana insisted on leaving home, too. Mrs. Dawson (Anxiously) What time is it, Will ? i6 NOWADAYS Dawson It's too late for her to be coming back to-night. The last train's In. {Re-enter Nellie, loaded with Christmas wreaths.) Mrs. Dawson , "-^^ (Rising) Let me have them, Nellie. Nellie (Places them on table) The man's waiting, Mr. Dawson. Mrs. Dawson (Seeing bill) Seven-fifty, Will. Dawson Take it out of the household money, dear. Mrs. Dawson I don't know whether there's any left. It's so near the first. (She starts up towards stairs.) Dawson Wait. Here's three. (Gives money to her.) Got four and a half, Sam? NOWADAYS 17 Sam If I had that much Fd get married. Dawson Tell him to charge it. {He takes back the money f'from Mrs. Dawson.) Where's the bell? Did he forget the bell? Nellie ril see. (Nellie exits,) Mrs. Dawson ! {Examining them) \ You bought the same as last year, Will. j j Dawson ' Saves trouble in ordering. Had the wires all put on ready, see? i Mrs. Dawson {Sorting them) I didn't take the hooks down last year. Dawson {Surprised) What? \ \ i8 NOWADAYS Mrs. Dawson {Humorously) Saves trouble in hanging them, Will. Dawson {Shaking his head) You*re getting older, dear. Mrs. Dawson Suppose you want them in the same places? {He nods and she begins to fix them through- out this, getting a chair and standing on it, humoring lines and business, Nellie re-enters with a Christmas bell and then helps Mrs. Dawson.) Dawson That's fine, Nellie. You hold that chair so she doesn't fall. Fll tell you if it's the right height. Mrs. Dawson {Stretching) How is this? Dawson A little higher. There! That's right. Get the other on the same line. NOWADAYS 19 „ Sam ^ {Aside to Dawson, with hidden intention) Father, what's bringing Diana, back all of a sudden ? Dawson {Eyeing him) Hasn't your sister told you? Sam IVe been too busy to see much of her in the city. What's bringing her, anyway? Dawson How should I know? {Turning) That's right, Belles- Sam She's not the sort who'd come unless you wrote her. Dawson She'll come if she's failed, won't she? What else could a girl do? Sam I've done everything / could to discourage her foolishness. Dawson ^-— — — ^ You've tried to protect her, I know. Look out, /don't fall. Belle. Be more careful, Nellie. 20 NOWADAYS {He lights his pipe as Mrs. Dawson goes to the other window, with Nellie holding the j chair.) I Mrs. Dawson Hand me another wreath, Will. i' Dawson Wait till I light my pipe. (Nellie gets it,) Got a match, Sam? (Sam oifers him a beautiful gold matchcase) H^m^ nice case, where did you get it? Sam Blew myself. / (Dawson returns case and smokes compla- I cently, sitting with his hack to the audience, I surveying the women work,) Dawson I tell you there's nothing like a woman's touch about the house. That's what makes the home. A little lower. Belle. Sam, when you come back here and marry (Sam starts) you'll know what it -means to find your wife waiting at home for you, when you're tired out working so she can rest comfortably all day doing nothing but just fuss about the house. Nellie (Offering to assist Mrs. Dawson} s Your arms must be tired reaching. \ NOWADAYS 21 Sam {JVith intention) Father, is Diana going to stay home now and marry and all that? Dawson {Firmly) If she comes home she will stay. I told her that when she left against my wishes. {Anxiously looking at his watch) Guess she isn't coming, though. She's a stubborn mule. Mrs. Dawson {Getting down) I thought I heard somebody on the porch. Nellie /^'" {Eagerly) / Maybe it's Diana. // Dawson ! {Nervously anxious himself) \ Nonsense. Mrs. Dawson {Quickly) Maybe she's walked out. She loves the moonlight so. / / 22 NOWADAYS Dawson Walk instead of hurrying? After being away from me two years? Nellie {Gathering things up) I - rU go see. {A loud tapping heard,) That's her. / / Mrs. Dawson / {With suppressed eagerness) I Oh, I hope so. Dawson {Doggedly) So she has come, eh? I knew she'd see she was in the wrong. Mrs. Dawson {Happily) Oh, Will, be glad. Dawson But I told her Mrs. Dawson Don't talk of that now. {Goes hack.) Oh, my girl ! Diana ! Nellie! Nellie! NOWADAYS Diana (Off) Mother! Mother! 23 Mother! Huh! Dawson Doesn't she know /'m here, too? (Diana enters,) Diana Mother, mother, mother! /(She has thrown her hat aside and eagerly em- braces her mother with a long kiss, Diana Dawson inherits her mother s sensi- bilities and her father s will-power. She is twenty-two or -three, full of vivacity, with abundant humor, which is directed to a definite purpose. Her dominant note is an exhilarating freedom of outlook, which is ever present in all \ she says and does. She is not beautiful but radiant in manner and appearance,) Dearest little mother! So beautiful and not a day older these two years. {Hugs her again.) My, but I'm glad to be with you! Dawson {After standing uncomfortably) I am here, too. 24 NOWADAYS Diana Oh, dad! {She is constrained a moment; finally he opens his arms to her, and she hesitates.) Dawson Come, Diana. Glad you're home again. I forgive you. Diana Forgive me? {Bursts out laughing.) Funny as ever, dad. Dawson {Taken back) Funny? Diana {Going to him, laughing) The very first time you spanked me, you shouldn*t have hit my funny bone by mistake. {They kiss.) Goodness, you're getting stouter, daddy. Dawson Nothing of the sort. Diana {Seeing Sam) Well, if there isn't energetic brother Sammy. Won't you give me a brotherly kiss to show you have also forgiven your prodigal sister? NOWADAYS 25 Sam {As they kiss) Thanks. Diana {Taking off coat) Don*t thank me, I could kiss anybody to-night. /-"^ Dawson I hope you won't. Diana ,, - ■-^.-.„*»-^'"'" "■■•'■ -.. Then watch over me, you two, with careful eyes; -for Tm on my toes. It was so glorious under the stars with the moon silvering the lake. {Looking about the room) M.y, my, everything's just the same. Mrs. Dawson We have electric lights. Dawson Your mother's idea; hate them myself. Diana {Seeing statuette) Oh, and your dear old ugly terra-cotta! Has it ever been moved in these two years? 26 NOWADAYS Dawson (Smiling) Diana's not forgotten what a good housekeeper you are, Belle. / Diana / Everything else the same. (She gives a comic sigh and adds abruptly) Has Peter Row come yet, mother? Dawson Did you expect to find him here? Diana Don't you like him any better? (Dawson grunts.) 'Phoned him from the station to bring our bags out. Thought Vd give the dear fellow some excuse to in- trude on the family's sacred circle. Dawson (Shaking his head) I have no use for Peter Row. He's a radical. Diana (Exuberantly) After my own heart. Sam Hope he doesn't get it. Pity you couldn't become interested in somebody who has something. NOWADAYS 27 Diana -^^^ I am. He's got our bags. We took the short cut. Dawson {Surprised) We? Diana Yes; Betty; Betty Howe and I. (Sam starts violently and catches Diana's quick glance at him.) Mrs. Dawson {Pleased) You brought Betty Howe with you? Dawson {Displeased) Here? Diana Did I forget to write you? Mrs. Dawson I'm so glad. Where is she? 28 NOWADAYS Diana Outside, with Nellie. She wouldn't come in with me till I'd seen you all first. Take off my rubbers, Sammy. (Diana sits in the grandfather chair, puts her two feet out at Sam, wiggling them, and as he stoops and reluctantly takes off the rubbers, she says pointedly) I don't think she knows you are here, Sam. (He eyes her.) Dawson But I just wanted the family all together this Christmas, Belle. You don't seem to understand the family feeling, Diana. Diana "Oh, Lord, daddy: still suffering from that. '<.. _^^ _^,, Mrs. Dawson {Firmly) You did quite right, Diana. She would have been lonely having nobody to spend Christmas with. Dawson {Shrugging his shoulders) Well, all right, all right. She's a nice girl in her way. NOWADAYS 29 Mrs. Dawson {At door) Come right in, Betty. Glad to see you, dear. (Betty Howe comes in timidly and seems cheered by Mrs. Dawson's greeting, Mrs. Dawson brings her down to Dawson, with her arm embracing Betty. Betty does not see Sam, who is concealed by Diana as he stoops over her, taking off the rubbers. Betty is Diana's age, almost shy in man- ner, suggesting a need of protection through a certain physical weakness in appearance. She is not a commanding character, though capable of spasmodic strength. The sympathy she in- spires is due more to what she might have been rather than to what she is,) Betty Diana said you wouldn't mind, Mr. Dawson. Dawson Not at all. Glad to see all the wanderers back. Make yourself perfectly at home. Betty I'll try. NOWADAYS Mrs. Dawson {Removing Betty's coat) Let me help you. / (Betty turns as Sam rises with the rubbers \ in hand and looks at her steadily. Diana \ watches. Betty is startled at seeing him.) What's the matter, Betty? Has the sleeve stuck? Betty {Recovering) Yes. — Hello, Sam. Diana didn't say you were here, too. Sam (With a quick, suspicious glance at Diana) I think she knew, though. Here, Nellie. / (Nellie has re-entered, and he gives her the I rubbers as she comes forward.) . Dawson \ {As he takes Betty's coat from Mrs. Dawson and \ throws it to Nellie) Here, Nellie. \_ ^--^_„. Nellie {Coming down) Have you both had dinner? NOWADAYS 31 Diana Yes, on the train. Hands full as ever, Nellie. Still working yourself to death for Sammy and dad? /' Nellie You're always making fun, Diana. / (She places things out in the hall and returns.) I \ Mrs. Dawson s \ Are you sure you girls didn't get cold? \ \ \ Dawson {At window) Blowing up a bit. Diana {Hugging Betty) Fairly flew with the wind, didn't we, Betty? Sit by the fire and toast your feet. Pull the chair up for her, Sammy. {He does so,) Mrs. Dawson It's certainly marvelous the way you make Sammy do things. Diana Now he's going to imitate a man putting on another log. 32 NOWADAYS Sam Think you're funny, don't you? (Sam is occupied with the fire. Betty hesi- tates and then sits in chair near him,) Diana (Getting a long, narrow box she has thrown down on table) I have something for you, dearest mother. It isn't as much as I am sure Sam must have brought you. But I'm poor. Dawson I didn't see what you brought your mother, Sam. (Sam throws the log on with a bang, Mrs. Dawson puts her arm on Dawson, silencing him, showing that Sam has brought nothing, Diana opens box and takes out a single red rose,) ^iana There! Isn't it a beauty? Mrs. Dawson Oh, Diana! It's like yourself — ^so — so free! Diana {Gaily throughout) Let me pin it on. Got a long pin, dad? NOWADAYS 33 Dawson Ask Nellie to get you one. (Nellie gives one.) Roses in December? Diana A rose, daddy. I would have stopped at the poor- house if Vd bought a bunch. Oh, my fingers are cold. You do it, Nellie. . (Nellie pins it on with exclamations of ad- miration.) Dawson {Glowing) Why, Belle, you're blushing like a schoolgirl. No- body in town to beat you. Guess I'd better have you go with me to the next show. We'll get a box so people can see how pretty you still are. (Mrs. Dawson hushes hinij playfully.) Dlana (Laughing) Yes, dad, show off your property. (She glances at Sam and Betty while Dawson and Nellie are admiring the rose.) Sam (To Betty, quietly) What did you come here for? 34 NOWADAYS Betty (Same) I was lonely. Sam (Quickly) I explained to you why I'd been away these six weeks. You're not going to say anything to Diana? / Betty I think she's guessed. Sam You're not going to do anything, here? Betty I don't know. I wouldn't have come if Fd \ known \ (She rises J half tottering. Diana comes quickly \ to her and covers the situation.) Diana \ Betty, does your head still bother you? Mrs. Dawson Are you ill? Betty I guess it's the warm room all of a sudden NOWADAYS 35 Diana Would you like to lie down, dear? Betty (To Diana) Yes; but I must see you afterwards. Sam {Nervously) Eh? Diana She's to sleep with me, mother; Tm to have my old room? Mrs. Dawson Yes, but it's so early yet. Betty I'll only rest a moment. "■-"-------''^'^^'^ Dawson Your room has been waiting for you two years, Diana. Nobody has slept in it since you left. Diana And thousands shivering in the cold ! Full of senti- ment as ever, dad. Why didn't you have a light burning in the window? 36 NOWADAYS Mrs. Dawson Come, Betty. I'll show you upstairs. Nellie Let me; you're tired. Betty I know the way. {Kisses Dl\na.) Don't come up. Wait for Peter. Diana I'll let you know when he comes. Betty {Appealingly) Good-night, Sam. Diana Sam, Betty's speaking. Sam {Who has stood puzzled at Betty's coming) Oh, good-night. {They are all silent, and pause, as they watch Betty exit up the little stairs, followed by Nellie.) / NOWADAYS 37 Dawson {Thoughtfully) Strange about Betty Howe. Diana Why? Sam {Not wishing them to pursue subject) Shall we finish the Christmas things? Mrs. Dawson {Surprised) Why, what's come over you, Sammy? Diana Who's been hanging them? Dawson 7 have. \ Diana t {Taking her mother's arm and drawing her away 1 from the wreaths) \ We'll have our talk later, when the two tired business \ men have gone to bed. \ \ 38 NOWADAYS .^ Mrs. Dawson Yes; I want to hear about your two years Dawson (Coughing, as they are apparently neglecting the work) Here; we'll put the bell up anyway. (They pay no attention.) Diana, get a chair for your mother. Diana You get it, Sammy. (Sam gives a grunt j and does so.) Dawson Here's the bell. (Mrs. Dawson starts to take itj but Diana gently pushes it back to her father , while smiling sweetly.) Diana You put it up, daddy; mother's tired. You won't have to reach so far. Hold the chair, Sam. We'll tell you if it's all right, daddy. (Dawson reluctantly gets up on chair, under chandelier, as Sam holds it, and fastens bell.) Mrs. Dawson But let me. I've always done it. / NOWADAYS 39 / ' Diana Yes, I remember. But this time you'll crush your rose. (Nellie enters in back and is astonished at seeing Dawson.) Nellie Oh, good Lord! Dawson {Testily) Don't shake that chair, Nellie; I'll fall. Mrs. Dawson What is it, Nellie? Nellie Peter Row is here. Diana Peter? (Joyfully) Goodie! Come right in, Peter. (Peter coijies in with the bags in his hand. She greets him joyfully. Nellie goes out back again. Peter Row is passed thirty, with an easy- going manner, attractive in an unassuming way, and not over-particular about external appear- ances; but he has a whimsical humor toward \ 40 NOWADAYS all the people he meets. He suggests a rugged honesty, coupled with a feminine tenderness, which makes him an endearing personality.) I'm so glad to see you. Peter Are you? Dawson {Holding bell, with his hands above his head) Do you expect me to stand here forever? Diana Dad's posing as a Diving Venus. Dawson Never mind Venus. (Cwr//y) Hello, Row. {Test- ily) Is this right, Belle? {She nods.) Peter {As they mutually greet) Hello, Sammy; enjoying your visit? Sam {Sarcastically) Fine. Peter Why, Mr. Dawson, is this doing woman's work the effect of reading our Woman's Suffrage edition ? \ NOWADAYS 41 Dawson {Getting down) Wouldn*t read such stuff. / Diana Sh! Dad's afraid of being influenced. Dawson No broad-minded man can be influenced by the papers. Peter That's true. You've thought about Woman's Suffrage a lot, haven't you? Dawson Don't have to think about something I feel, I tell you, if we had woman suffrage, women would all vote like their husbands. Peter They say it would double the ignorant vote. Mrs. Dawson {Looking about) What's become of our paper, Will? Peter Take mine. \ . {He gives it to her, 'Dawson is displeased.) 42 NOWADAYS Mrs. Dawson There are eight million women supporting them- selves; think of that, Diana? Dawson Old maids and widows. Peter Most of them supporting families. Dawson They ought to be ashamed of themselves having families. Mrs. Dawson (Seated and reading paper) Eight million! Peter By the way, Mr. Dawson. There's a tip in " The Times " office that you're going to take Sam into partnership with you and start a branch office in New York. (Diana, who has been with her mother, looks up, interested.) Dawson What business has your paper got prying into my affairs? NOWADAYS 43 Peter (Smiling) We like to humor our advertisers. That^s how we live. Diana {Making point) Is it true, dad? Dawson (After a brief, impressive pause) You can tell your readers that when my son goes into partnership with me he'll come home to stay. And I'm contented to let him remain in the city for the present. Sam Did you get that, Row? Peter Sure; young age pension. Diana (Turning away thoughtfully) So. Still helping him! ^^^.. Mrs. Dawson I (Nervously, fearing a quarrel and leaving paper on I sofa, near window) ^ Come, Will, we'd better put the wreaths in the outer hall. 44 NOWADAYS Dawson All right. {Looking at Peter and Diana) Sup- pose you two want to discuss modern economics? Diana Dad, youVe got a poet's vision. Dawson I hope your two years away have taught you sense. Diana I inherited it. Dawson Not from me. I mean {She laughs,) It's you, Peter Row, who put foolish, new-fangled ideas in her head about leaving home. Peter It was something God gave her. Diana {Quickly) With a little help from mother. Dawson A girl leaving home to be a sculptress! Who ever heard of it? But I've forgiven her, now that she's come back to stay. NOWADAYS 45 Peter (Surprised) To stay? (Diana starts to deny, but her mother halts her,) Dawson So don't spring any more of those new ideas on her. Peter You flatter me. Diana just grew into what she is. Nobody could change her when it's a matter of doing what's right. Diana Peter I Dawson (Looking at them as Mrs. Dawson goes up) What's right? Huh Row, you're one of those muck-rakers disturbing other people who have responsibilities and a family to support; but I notice you don't own anything and you can't be hurt by a change. Peter The hell that was good enough for your father ought to be good enough for Sammy's father? 46 NOWADAYS Dawson Exactly. Sam Oh, cut It, Row. : (Sam goes up and joins his mother in hall in back.) Dawson \_ {Emphatically) When you get property, white hairs, and have a family Peter Help, help! Dawson {Excitedly) You'll see there's nothing in these new-fangled ideas. My father came into this town a barefoot boy and look what he left me so I can leave it to my children. Think that over when you go around making a living by tearing down other people's work. (Dawson goes out in back.) Peter Wow! Call an ambulance. NOWADAYS 47 Diana / {Laughing) / He never liked any of my men friends. Afraid I'm going to marry them all. (Nellie enters and crosses with tea-tray.) Diana Nellie, tell Betty Peter is here. i I j I Peter j Nellie, don't tell her right away. (Nellie goes up the little stairway. Diana goes back and closes the door, shutting the others from view. She comes radiantly to Peter, holding out both hands, which he takes. The following is played with mingled humor and frankness J with a serious note underneath.) Diana Really, hello, Peter. Peter Really, hello, Diana. Diana Glad to see me again? Peter Glad to see me? 48 NOWADAYS Diana (Nodding) Hu-hum. Peter Hu-hum to your question. Diana Your letters have been a joy. Peter Did they help make it easier ? Diana (Turning away) I have never yet lost faith in myself; but I've ques- tioned whether my opportunity will ever come. Peter (Confidently) It will. Diana (Looking up frankly) You've always believed in me, haven't you? Peter A newspaper man has got to believe in something. NOWADAYS 49 Diana I'm rather a human being, Peter. I like and need to feel a warm hand in mine, up those five flights, getting my own meals, and sewing — and Mother's been so good — but dad! Peter He's a good-natured old fossil. Diana (^Playfully admonishing him) Peter, I love him. Peter I love radishes, but they don't agree with me. If he had a new idea he'd die of dropsy. Funny his thinking you are going to stay. Diana {Surprised) You know I'm not? Peter Never saw you disappoint me yet. Diana You wouldn't wish it, even if — I could be per- suaded to stay? 50 NOWADAYS Peter What's going to persuade you? Diana I understand, Peter. You want me to be something. Peter Yes; more than anything else. There's a lot of foolishness in this town that all a woman ought to do is to marry and have babies. They're nice enough all right, but God put something pretty big into your soul and it doesn't need a husband to help it along: a love of beauty and a power to make it live for others. I've told you so often you owe something to that. Diana Peter, why don't you escape from this place, too? Peter I'm a lifer, I guess. I can think for other people and build the most beautiful plans, castles, aeroplanes, careers, and things — get people angry, stir them up. Maybe some day I'll write that novel I told you of. {Looking at her fondly) But somehow I'm a lazy critter and I guess I'd better stay here and dust the geraniums. Diana Why don't you come to New York? NOWADAYS 51 Peter People see nothing but electric lights there. Here occasionally we can see the stars. Diana {Going to him) What's the real reason you won't come? Peter (Eyeing her) Some day, when you're a great success, I'll tell you. Diana I'll wager you won't even then. But I've half a mind to be a success just for that, Peter I'll wait. Diana Won't you tell me now? (He shakes his head.) Won't you tell me a wee little bit of something now? Peter Yes, Diana. One of the reasons I drove out — I almost forgot it, seeing you again. Come to the win- dow. (He pulls aside the curtain) Look across the lake. See it in the moonlight, three miles across? That's gone up since you went away. 52 NOWADAYS Diana The dome of the new capitol? Peter Yes. The architect had a sense of humor. Made it so beautiful every time even I pass it I feel like taking off my hat and praying. Tough on the poli- ticians. Diana Do you feel as though you were praying when you see something beautiful? Peter Yes; but I do a heap of cussing. Diana (Mock seriously) Father*s terra-cotta has damns written all over it. Peter (Pointing) There's a vacant pedestal in front of the approach — like an altar. And a statue is to go on it. Diana A statue? Is this where 1 come in? NOWADAYS 53 Peter You've got me. It's to be symbolic. Diana Something everybody will disagree about? Peter Yesterday " The Times " heard they*d decided to have an open competition ; secret, of course, you know. I thought it would be a fine thing for this burg if " the female of the species " Diana {Joyfully) Oh, Peter, wouldn't it be a joke if Peter {Quickly) An awful joke on your father. Diana But wouldn't mother be happy! Peter By the way, it was her old friend, Oliver Hardman, who told me. He's coming out to see her to-morrow, he said. But you mustn't tell him your intentions be- cause he's been appointed on the Legislative Com- mittee as judge. He's down to get a line on it. I pumped him a bit. I know what he thinks appropriate. 54 NOWADAYS Diana What? Peter Something they can call " Democracy." No re- lation to any of our present parties. Diana {With a flash, glancing at the newspaper MrS. Dawson has left on the table) "Democracy"! {She gazes rapt before her,) I've got it now. I see it, don't you? Peter Never have yet in this country. That's It! Put me wise. Diana Peter Diana Oh, I won't tell even you till I see if there's room for it. {Significantly) But it's got a woman in it. {There is a slight pause and Betty nervously comes down the little stairs and closes the door.) NOWADAYS 55 Betty Peter! Peter {Greeting as a very old friend) Glad to see you, Betty Howe. Diana You've rested? Betty {Nervously) Where are the others? Diana {Opening door in back and looking out) Helping father. Dawson {Outside) A little higher, Belle. Betty v {To Peter, so Diana cant hear) \ I couldn't stay another moment without Diana's \ knowing. 56 NOWADAYS Peter (Surprised) YouVe not told her? / Betty / (Quickly) I couldn't. I was afraid you might, now that Sammy Peter • It was not mine to tell. But you promised. Betty I always fall down, don't I? (Diana laughs and closes the door.) Now, what will Diana say? \ Peter \ Whatever is right. V Betty (Gaining courage) Diana! What made you bring me here? Diana (Subtly realizing the seriousness of it) What made you come? NOWADAYS 57 Betty I don't know. There's something always seems to drag people back, isn't there? Peter Or keep them anchored. Betty {Nervously throughout) Did you know Sammy was coming here, too? Diana {Calmly) Yes; mother wrote me. Betty And you suspected? Diana I knew only that when he was at college you were fond of each other. Betty And when mother died a year ago you thought I went to the city to ? Diana Lots of people go to the city, Betty. It's the modern disease. I'm even trying to get Peter there. 58 NOWADAYS Betty But not to be together as — oh, no ! You re not the sort who would hide things. Diana {Going to her, tenderly) You said you were living alone, Betty Why didn't you ask me any questions when you came to see me? You knew I had no money and was not earning any. Diana For the same reason I always wrote before I came. Betty Because you knew somebody was paying my bills. Isn't that it? Diana I knew you were Betty — " Betty Howe around the corner," — ^who had the run of our home here when we three were all kids together. Betty But you knew it was Sam who was coming to see me? (Diana nods.) And you could still ask me to come back here to your home? NOWADAYS 59 Diana {Simply) Why not, if he could come, too? Betty (Crumpling) Oh, and I was afraid to tell you. Peter Betty wouldn't let me, Diana (Surprised) You knew? Betty Oh, it isn't so terrible. Except Sam thought, when I went with him after mother died — oh, we were both young and we thought, when it first happened, it would raise such a rumpus with our parents. Peter had found out. Peter I was on another story in a burg near here, mixing in people's private affairs, being a good reporter. It was before a license was necessary in this state and Diana (Surprised) Married? 6o NOWADAYS Peter Yes. Betty Three years ago. Diana Betty! (Sam enters from back and sees the situation. He leaves the doors open. The others outside are not seen, Peter and Diana watch him as he comes down; then Betty looks up and rises and holds out her hands to him for for- giveness at having told. Then, with a sob, she goes out and up the little stairs. Sam sees they know that he is married. There is a pause. ^ Peter Guess I'd better be going, Diana. Diana To-morrow, Peter? Peter Yes. I'm driving Mr. Hardman out to see your mother in the morning. Good-night, Sam. NOWADAYS 6i Sam {Emphatically) Now remember this is my affair. She*s my wife. Let me handle it my way. I don't intend to live in this place unless I have to. Understand? Diana {Firmly) I'll give you till to-morrow, Sammy. Good-night, Peter. Peter Good-night. (Peter ^0^5 off, and Dawson and Mrs. Daw- son are faintly heard speaking to him. Sam looks at Diana and then back at the others as Diana gives him a long, questioning look and crosses to the window.) Sam I've got some say. I did the decent thing by her. Married her first. That's more than most men. Diana {Scornfully) The decent thing by her. I wonder. 62 NOWADAYS Sam I don't care how much you wonder if you shut up. (He yanks the chair around, pulls out a ciga- rette, lights it, and stretches before the fire again as Diana sits gazing at him.) Diana To-morrow, Sammy. To-morrow. (Dawson, followed by Mrs. Dawson, comes down, closing the back doors. Mrs. Dawson sits by lamp and begins to sew, but records her impressions of the following as she listens in- tently. Dawson sees his son and daughter.) Dawson {Beaming) Ah, the family all together for once. {Takes DianaV hand) Glad you're back, little girl! We've missed you. Where's my pipe. Belle? Mrs. Dawson Where you left it. Dawson {As he finds pipe and lights it) The first time it seems like home in two years, eh, Belle? Nothing like having the chicks right under our wing. NOWADAYS 63 Diana {Abruptly) Father, why doesn't Sammy stay here and accept your partnership? Sam {Quickly) Why didn't you stay at home and help mother? Diana I had my work. Sam So had I. Diana How much is Sam making, dad? Sam Dawson {Complacently) Takes time for a young fellow to get started. Diana {Insistently) But he isn't making any money? 64 NOWADAYS Dawson {Reluctantly) Nothing to speak of. Diana Don*t worry, Sammy; neither am I. Dawson {To Sam) That's why Diana's come back. Diana {Quickly) Don't misunderstand, dad. Dawson {After eyeing her a second in doubt) Not at all. We all make mistakes — especially when we're young. Diana But I made no mistake. Dawson You will have your little joke. Diana I'm like you, father. NOWADAYS 65 Dawson Then perhaps you understand my feelings when you left a little better. I couldn't get it into my head how any girl could leave a home like this, where you have everything — trees, flowers, fresh air, and a lake view that's the best in the county. Diana {Looking out window and leaving curtains open, with moonlight coming in) And where one can see the dome of the Capitol, and think of the altar waiting. Dawson Sammy had to leave. It's the way with sons. But I thought you would stay here where I passed my child- hood and you were born and had all your early asso- ciations. Why, your mother has hardly ever even wanted to leave here. But you had to up and go. Diana Yes. I had to. Mrs. Dawson {Wishing to avoid the discussion) Don't let's talk of this to-night. Dawson Had to ? Who made you ? 66 NOWADAYS Diana Something inside. Here — burning and singing. Dawson (Emphatically) Rot! Mrs. Dawson She*s only come home, Will. Don't make it hard for her again. Dawson Because I*m her father and objected to her leaving you all alone? That's unkind of you, Belle. Diana ( Good-naturedly ) Father thinks I am still crazy — oh, you said so — because I wanted to go to the city and make marble live. Sam Funny reason to go to the city. Dawson (Point-blank) Well, you're over that foolishness, aren't you? NOWADAYS 67 Diana / {Facing the issue) / That's just where you're mistaken, dad. / Dawson [ {Soberly) Then you're not going to stay with yout mother and me? Diana Since you made it easy for me by writing, I'll come ''^ and see you very often. Dawson And make a hotel of our home ? Not much. ( Con- trolling himself) Now, Diana, your mother's getting old and feeble. Mrs. Dawson {Emphatically) Nothing of the kind. Will. Dawson I know better. Suppose anything should happen to your mother ? What would / do ? Diana {Laughing) So you are thinking of yourself, daddy. 68 NOWADAYS Dawson I'm thinking of a girl's place at home with her parents till she marries, doing a woman's work. I'm not proud of having my daughter ofE earning her own living as though I couldn't support her. Diana {Not taking him too seriously) Why, daddy, how could I stay at home when It was you who made me go ? Dawson (Bewildered) Me? Diana ( Whimsically ) Yes. You and the turtle. Dawson The turtle? Sam She's crazy, all right. Diana (Fancifully throughout) Yes, the dear, dear turtle. I've laughed so many times when I think of what little things determine our NOWADAYS 69 lives. Do you remember that day — long ago — ^when I was a real little lady, and Sammy wasn't such a gentleman? Of course you don't. Nellie was sick and mother had taken Sammy to the dentist for some- thing and you had to stay home and take care of me. You ought to remember that day: you said you had such a headache when it was over. You were so happy taking a woman's place that you fell asleep from exhaustion. That was my chance. Destiny opened the door and I went out into the garden. It was all flowers and mud. And, daddy, there on the path I saw a turtle: a poor, lonely, little turtle; oh, so lonely I felt sorry for it — because you had mother and Sammy and me, and the little turtle hadn't anybody. Somehow I wanted the turtle to have some little turtles so she wouldn't be so lonely. You see, you ought to have told me where turtles and babies came from. Dawson A young -girl shouldn't Diana So I held the turtle with a stone and took the clay — almost the same color as its dirty back — and I began to make a turtle. I rounded it, put legs and two heads on it — so it could go in either direction — and it seemed to move before my eyes. I'd made a turtle out of clay! And something stirred within me. I've never lost it, dad; never forgot that first thrill inside. 70 NOWADAYS which told me I could make things live by molding them with my fingers. That's when I really became a sculptress. Oh, daddy, it's here, always here inside, and I know if I keep at work I will succeed. I know — I know. And just think; if you hadn't fallen asleep and left the door open, I should never have entered into my garden. ( There is a pause. Dawson looks bewildered. Sam sneers. Mrs. Dawson gazes before her, apparently deeply moved by Diana's words, which she has followed eagerly throughout.) Dawson Have you any clear idea what she's talking about, Belle? Mrs. Dawson I think I understand. Dawson I don't. Do you, Sammy? Sam Plenty of men can make statues. Dawson " Something inside/* I never felt anything like that troubling me. NOWADAYS 71 Mrs. Dawson So many people use the same words, but cannot understand each other. Sam Rot! Dawson Well, you seem to think it's mighty important, whatever it is. But what have you got to show for these two years? Diana No more than Sammy. Sam You seem to think we're alike. Diana {Emphatically) No, I don't! — But I keep on working and trying: when I'm tired I go see all the wonderful dancers; for they are statues in motion Dawson {Suspiciously) You send you were making no money. 72 NOWADAYS Diana Climb my five flights and see how I live. Dawson But you live. Diana (Radiantly) Wonderfully ! Dawson And can afEord to go to the opera and dances and Diana Why this sudden curiosity, dad? You never in- quired before. Dawson Who's been paying your bills ? Do you mind telling me? Diana I don't mind, — ^but I can't. Dawson {With growing intensity) I think I have the right to ask that. What right? Vm your father. NOWADAYS 73 Diana Dawson Diana (Earnestly) Father, when I was at home you thought you'd force me to do as you wished because you paid for my food and clothes. When you took that from me, you ceased to have that right. (More tenderly) You're forgetting, daddy, that since I've left you've not helped me with my work nor given me a penny. Dawson (After an uncomfortable moment) But you haven't answered my question? Diana (Calmly) I thought I had. Mrs. Dawson JWill,- Sam (Starting up) I wrote you, dad, what would happen to a girl alone in the city without a mans protection. 74 NOWADAYS Diana Sammy, you're funny. Sam You ought to be ashamed of yourself. Dawson Diana, I'm serious. Diana So am I. That's why I'm laughing at Sammy's sudden desire to consider {pointedly) his family. (Sam subsides.) Dawson {Losing patience) You're evading my question. Diana I'm not insulting something I love. Dawson {Forcibly) Is there some man mixed up in it? Diana Why a man? NOWADAYS 75 Dawson Damn them, I know them. Sam So do I. Dawson You shut up, Sammy. Answer me, daughter. (5roy^^w) You haven't ? Answer me. Good God, girl! {Taking both her shoulders forcibly.) Answer me. Diana {Calmly looking at him) No, daddy. Maybe I'm not attractive enough to be endowed. Dawson {Believing her after a long gaze into her eyes) There's only one who could honestly help you. Was it Sammy? Diana That's funny, too. Sam You bet it is. 76 NOWADAYS Mrs. Dawson {Putting aside her work) Are men the only ones who help women ? (Dawson looks at her incredulously.) Tell him, Diana; it's best now. Dawson {Incredulously) You knew? And you kept it from me? Mrs. Dawson {With some slight hesitation at first, and then with increasing courage and firmness) It was a good many years since I last held a brush, isince just before we were married, Will. I had an odd little idea I thought might sell as a specialty; paper dolls, with separate sheets of water-colored clothes to put on them. They are so much softer than the printed kind, and children like anything soft. I wrote about it to Mr. Hardman. He had been so kind to me years before at the Art School. He thought I had had such promise. He found an opportunity to use the dolls. They caught on in the best shops. They pay me very well. I made enough each month to help Diana when she went behind. Dawson {Dumbfounded) You? After you heard me say when she left I wouldn't give her a cent? NOWADAYS 77 Mrs. Dawson ( Tartly ) You were keeping Sam, weren't you? Dawson That's diiferent. Mrs. Dawson I didn't see why we shouldn't help both our children. Dawson {After some confusion) And you took it, Diana? Diana Yes. Dawson You knew how she got the money? Diana Yes. Sam Mother working herself sick for you Mrs. Dawson {Firmly) I told you I have never been so happy — never. 78 NOWADAYS Diana (With kindness going to him) Dad, I don't mean to be unkind — ^but I had to study. You wouldn't recognize what it meant to me. I had to live. Sam and I both went against your will in leaving home — but you helped him because he was your son; I was only your daughter. ( There is a long pause. DiANA goes to her mother and kisses her silently, showing the close bond between them. Dawson is cornered and doesn't seem to know what to say. He starts to speak several times and stops.) Dawson You seem to think boys and girls are the same, but they're not. Men and women are different. {Hesitat- ing) Why, Diana, you may not know it but your mother herself had foolish ideas like you have when I first knew her. (Mrs. Dawson starts to protest.) Diana {Surprised) Mother? Dawson Yes; you didn't know that, did you? She was poor and didn't have a mother to support her NOWADAYS 79 Mrs. Dawson Oh, hush, Will Dawson Well, you had to work for a living — didn't you? Had to, mind you — {To Diana) She'd about given up when I met her in the city — trying to work at night to feed herself in the day while studying Art. (Mrs. Dawson gazes before her, thinking, as Diana has come close to her,) Diana Mother ! Dawson But she was sensible ; when a good man came along who could support her she married him and settled down. Look how happy she's been here — here with a home of her own and associations and children. Where would she be to-day trying to paint pictures for a living? There's lots of men who can paint pictures — as Sammy says; and too few wives for hard- working, decent men who want a family — which is God's law. That's why I helped Sammy and not you. He'll have to support a family some day. You won't if you marry the right sort of man. You'll find out I was right when you marry and have children like your mother. 8o NOWADAYS Diana {Wistfully) And now her children have both left her. Dear mother, what has she to do? Dawson What has she to do? Well, just you wait: you'll see what a good wife has to do for her husband. Diana But, daddy dear — suppose the right man doesn't come or {thinking of Peter) doesn't even ask me? Dawson {Trying to answer her and then giving it up testily) Why — ^why — it's getting too late to answer any such silly questions. (Diana smiles.) Sammy, you go to bed and leave them here to powwow, and if I've got to support you both in the city I'm going to have some say. I don't intend to open you to dangers, Diana. Sam's got to look out for you and live with you, see? But- Diana Mrs. Dawson {Halting her) Not now, dear. NOWADAYS 8i Sam {Sarcastically) Fine. I'll spend all my time posing fpr a cupid, eh, /Diana ? Diana (Significantly) As I said, you and I, Sam, will talk over everything to-morrow. (Sam gives her a look and goes out back and upstairs. Dawson turns, after watching him go off, and looks for a while at the two women seated together.) Dawson I'll have to help you make a fool of yourself, Diana, if you've made up your mind. It isn't easy for me to back down ; you're wrong but you're stubborn. {He goes close to Mrs. Dawson and pats her) Painting paper dolls with a change of clothes when I might have been sending Diana the money without ever feeling it ! No more of that, Belle ; you've got to stop your painting, understand? Mrs. Dawson {Startled) Stop my painting? Dawson Yes; I don't intend having you get sick with work. 82 NOWADAYS Mrs. Dawson (Starting to protest) But Dawson (With finality) You don't have to any longer ; I won't have it, either. That's one thing I draw the line at. Fll lock up. (As he goes up he turns out the switch in back; the room is in darkness, save for the moonlight upon the two women seated together, the faint glow from the fire, and the soft light in back hall, Diana has been watching Mrs. Daw- son intently with a sudden realization of all the painting has meant to her.) Diana ( Taking her hand in great love and understanding throughout) Mother! Mrs. Dawson (Quietly gazing before her, unheard by Dawson, who has momentarily gone off in back) At the Art school Mr. Hardman said I had a lovely- sense of color. Your father is so kind, but he doesn't know how much I enjoyed painting again— even those little paper dolls. NOWADAYS 83 Diana {Slowly and with wonder) Mother, you too!! Mrs. Dawson Yes; like you. Diana Oh, dearest mother, now I understand. All these years you've never wanted to give up your painting? Mrs. Dawson I'm lonely here. Diana And now he's taken it from you again. That's cruel— cruel. Mrs. Dawson Your father doesn't understand. Diana Then we must make him. Mrs. Dawson I don't think I could. 84 NOWADAYS Diana I'll help you. Oh, he shan't take your little painting from you if it makes you happy — he shan't. Mrs, Dawson It's too late for me to enter my garden. The door has been shut too long. Diana (With determination) To-morrow; you and I will open the door again. Sh! Mrs. Dawson (Hearing Dawson) (Dawson re-enters to the door in back with a lighted candle: he has put out the hall light,) Dawson {Looks at them a second) Good-night. Painting? Huh! Well, thank good- ness, I've been able to settle that foolishness! Huh! {He turns, shaking his head, and as he goes slowly up the stairs the two women draw closer together in the moonlight.) [after a silence the curtain falls slowly.] ACT II HIS WIFE 1h ACT II The Same Scene. The Next Morning, Sunday, ( The Curtain goes up with Diana humming as she surveys the room, with a definite intention, Nellie enters from the little stairs with a tray,) Diana Betty was^ awake ? Nellie Yes, she'd only take coffee and rolls. She told me to tell you she wouldn't get up for a while yet. Diana {In gay spirits) Ever feel like dancing, Nellie? Nellie Me? Diana I have all morning. 87 88 NOWADAYS Here? Yes, even here. Nellie {Astonished) Diana Nellie What would Mr. Dawson say if I took up dancing? What are you doing? Diana Sh! Nellie! {Whispering as she takes the terra- cotta and places it on desk in back) We're raising the Devil. Nellie Has your father said you could? Diana No, but mother has. And this is her home, too, you know. Now help me push the things about. {While they are talking, much to Nellie's astonishment and in spite of her protestations, they take the cover off the table, which they push over to the window. Nellie folds the cover carefully, etc. DiANA delighted. Dawson enters in back. He gazes at them in astonishment.) NOWADAYS 89 Nellie Oh, Lord! Dawson Would you mind telling me what you're doing? Diana (Not stopping) Trying to please mother, daddy dear. Dawson Your mother? Diana Yes. She's tired of having the place just so. Thought we'd change it about. Dawson {Sits down) Well, I'll be (Sarcastically) Hope I'm not interrupting you. Diana Not at all. I was asking Nellie what time she got to bed last night. Nellie Eleven o'clock. go NOWADAYS Diana What time did you get up? Nellie Six. Diana (Mock tragically) Daddy, Nellie's working eighteen hours a day, Dawson What do you think this is, a Union Shop? Diana That depends on how much you pay her. Nellie Twenty dollars a month. Dawson With board and keep. Diana I was just wondering how you stand it, Nellie. Why don't you have another girl to help her out ? Dawson If you were at home long enough to get acquainted you'd know your mother does that. NOWADAYS 91 Diana But mother i*sn*t going to do that any more, dad. Dawson. Eh? Diana She's promised me she wouldn't. {Whispering com- ically) She's going on a strike. Dawson A strike? Nellie Sure, this isn't a factory. (Nellie takes off the tray in back and returns,) Diana It's worse. It's an old-fashioned home. {Bur- lesquing) Where father comes at night and mother works all day. Dawson Is that one of those popular songs? Diana It*s very popular just now. I hummed it to mother last night. It's the Woman's Pilgrim Chorus. 92 NOWADAYS Dawson So you're trying to put some new-fangled ideas into her head, too? Diana No. I'm only urging mother not to give up her painting. That's not so terrible, is it ? Dawson But she doesn't have to paint now. Diana Yes, she does: to be happy and make you happy. {Hugging him) Oh, if you only knew that, daddy dear. And she needs the north light, so she'd like to paint down here. And I'm honoring my fifth com- mandment, as you told me I always should. Dawson But (Mrs. Dawson enters with paints and palette in her hand. They look at each other; she smiles sweetly at him.) Mrs. Dawson You're back early this morning, Will. Dawson You've apparently forgotten it's Sunday. NOWADAYS 93 Mrs. Dawson So it is. I felt so happy. {She places the things on the table as he watches her, puzzled.) Diana Better bring down the rest of mother^s kit, Nellie. Mrs. Dawson You will find it all together, ready. Nellie {As she goes upstairs) I often wondered what a strike was like. Dawson Belle? Mrs. Dawson Yes, dear. Dawson , {Puzzled) Do you like to do this? Mrs. Dawson Yes, Will. 94 NOWADAYS Dawson Well, I suppose if you like it ; but Mrs. Dawson But what? Dawson You're pretty old to be taking up those tricks again. We'll have a talk later. Is Sammy up yet, Diana? Diana No, he's resting after his hard day's work. He's got another heavy day ahead of him if I'm not mis- taken. Dawson H'm. I'd better call him. Matters appear to be going all to pieces here. {He goes upstairs, slowly shaking his head.) Diana {Gaily at table) Cardboard, brushes, thumb tacks, blotters. {Noticing Mrs. Dawson, who has seated her- self in chair, lost in thought. She goes to her and they play the following with greatest affec- tion and syfnpathy.) What is it, mother dear? w r NOWADAYS 95 Mrs. Dawson Is your father right? Am I too old? Am I mak- ing myself ridiculous? Diana Nonsense, mother dear. Too old to try to be com- pletely happy? Why, dearest, who could laugh at you? Mrs. Dawson I've accepted so many years the way things are. Diana To-day ushers in a new era in the home of Dawson and Wife. Mrs. Dawson I'm fifty, Diana. Diana (Buoyantly throughout) Nonsense, mother. You're a girl — my age — ^with wonderful roses in your cheeks. I saw them last night when they bloomed to meet dad's love, and when we sat before the fire and you told me of the dreams you once had when you were working to be some- thing, as I am working now. Why, dearest mother, your ambition has never left you. (Playfully) You get that from me. 96 NOWADAYS Mrs. Dawson (Smiling) I'm fifty. It's hard to break from the habit of a lifetime. Diana To go back to its early dreams? Mrs. Dawson (Timidly and sweetly) Do you think I could? Diana (Emphatically) Yes, and you will. Mrs. Dawson (Wistfully) I've always wanted to paint, but I'm afraid the fingers have lost their skill. The hands are not so steady and the eyes are tired. But I feel it just the same. I don't think your father would let me study again here. You don't know him. Diana He doesn't know my mother. Mrs. Dawson She doesn't know herself. Diana, (Drawing her close and speaking very sweetly) is it so terrible for NOWADAYS 97 a wife to want to leave home sometimes and be with her daughter? Diana Mother! Mrs. Dawson (Quickly) Don't misunderstand me, child. I love your father. He's been kind and good in his way. But I get so lonely for you — ^just for you, dear. Diana (Hugging her) And I want you so. It gets so lonely for me up five flights and no one to tuck up to when things go wrong. Mrs. Dawson Wouldn't it be wonderful, dear, if — if we could be together again? Diana Do you wish me to come back? Mrs. Dawson (Quickly) No, no. I wouldn't have you give up your work for the world. I love to think of you way oif there 98 NOWADAYS Diana {Gaily) Up five flights of stairs, a studio, and a tiny bed- room, thirty dollars a month? Cooking on a rickety gas stove, but with a glorious north light and a view of the white marble tower reaching up toward Heaven ? Mrs. Dawson They didn't have such high towers in my day, but we dreamed the same way. And, Diana, I want to confess something. I've never stopped dreaming. I live my own days over thinking of you. But a mother's arms get so lonely when the children go. Diana They always go, don't they, mother? {With a sudden thought) Unless the children take her along with them. Mother, why don't you come to me for a long visit? Mrs. Dawson I told you last night I don't think I really could leave your father. Diana Even to be with your daughter? Mrs. Dawson Oh, Diana, I'd love to be with you for all It would mean to me; but your father wouldn't let me go for a long visit. NOWADAYS 99 Diana He tried to crush everything out of me with his blindness and lack of understanding. Now he under- stands better. He wouldn't let me go, but I followed my heart's desire. Mrs. Dawson I told you I was fifty. ~^ Peter {Outside J tapping on door) May I come in, Diana? Diana (All confused) Peter! Mrs. Dawson (Realizing completely her love for Peter) " Your heart's desire." Diana, then it is true? You and Peter? Diana {Kissing her mother) He's never said a word. He'll never take me from you, dear ; he doesn't think an artist should marry. Mrs. Dawson {Gazing before her) Men are so different. loo NOWADAYS Peter {Opening the door) Please may I come in? Good-morning, Mrs. Daw- son. (Peter comes in. Mrs. Dawson goes to him, takes both his hands, looks into his astonished eyes J and then starts towards the little stairs.) Mrs. Dawson (Quietly) m see if Betty needs anything. (Mrs. Dawson goes out.) Peter (Puzzled by her manner) What's up? Diana Rebellion. Behold! the terra-cotta's moved, and mother's on the warpath. Peter (Astonished) Your mother? Diana Father's only wife, yes. NOWADAYS loi Peter Good for her. The way she looked at me I thought Diana What? Peter Oh, I don't know. As though I'd stolen something from her. Diana Maybe that's it, Peter. Peter You didn't tell her I spoke of the statue? Diana No; it wasn't that, Peter Then you knew why she looked at me that way? Diana Don't you, Peter? Peter I wouldn't dare tell you what I thought. I02 NOWADAYS Diana {Frankly and without coquetry) Go as far as you like, Peter. Peter (Smiling) That's how a man gets in trouble. Diana Are you afraid of getting in trouble? Peter A man doesn't get in trouble alone. Diana There's a woman in it? Peter Like your statue. Diana Yes. And there's room for it. Like the statue. Peter {Puzzled) Room for it? NOWADAYS 103 Diana Yes. I walked into town early this morning and looked at the pedestal. There's room for my statue, Peter. I'm going to try to do it. Peter I'm so glad there's room. Diana {With feeling) For more than a statue, Peter. Every pedestal in the world has room for something we can worship and love. Peter Something beautiful, like a woman's heart? Diana {Looking up at him with frank love) a man's. Or ' Peter {Gazes at her, after a slight pause, with the same expression) Isn't this funny talk for eleven o'clock in the morn- ing? {They laugh and turn from each other.) Has Sammy broken the news to them? 104 NOWADAYS Diana He*s not up yet. (Re-enter Mrs. Dawson.) Mrs. Dawson Peter, why didn't you tell me? Nellie says Mr. Hardman drove out with you. Peter {Nonplused) I clean plum forgot it. And he's got to make the noon train. Diana Bring him out of that horrible plush parlor right away. Don't wait to say anything funny. Go! (Peter exits in back, Mrs. Dawson has been standing, lost in thought.) Mrs. Dawson It*s been over twenty-five years. Diana And Mr. Hardman liked your painting? Mrs. Dawson Yes. He was so kind. Now he'll see you as I was. {Enter Oliver Hardman, followed by Peter, who joins Diana. NOWADAYS 105 Oliver Hardman is in the late sixties, still full of physical vigor and possessing a great charm of personality. His speech is soft in accent but sure in meaning. One feels his human understanding, for life has apparently brought its full share of disappointments,) Hardman {Coming to Mrs: Dawson), And this is Belle Patterson? Mrs. Dawson {Sweetly) The same. I'd have known you anywhere. Hardman Have the years changed me so little? Mrs. Dawson TheyVe brought you fame and gray hairs, Hardman I couldn't help the latter. And they've brought you? Mrs. Dawson Me? io6 NOWADAYS Hardman {Looking about) Happiness, home, and children. You are very fortu- nate. Mrs. Dawson YouVe met my daughter Diana? (Diana comes forward. He takes her frank, open hand and holds it a moment, gazing at her with a sweet smile on his lips,) Hardman That*s strange. You gave me your hand just like your mother used to when she was your age. Diana {Impulsively) I knew from last night I'd fall in love with you at first sight. {He laughs adinonishingly,) (Mr. Dawson enters down the small stairs.) YouVe met dad? This is Mr. Hardman, father, who has been so good to mother. Dawson {Restrained) How do you do? Sit down. NOWADAYS 107 Hardman ( Good-naturedly ) I can only stay a moment, thanks to Peter Row. Peter Guilty. Hardman But first let me congratulate you, Mr. Dawson, on getting the contract at the Capitol. Dawson {Quickly) They took my bid? Hardman The general contractor was an old friend. I was with him this morning. Your bid and Tenner's were the same. He asked me If I knew you {significantly) and I think the coin will fall on your side. Dawson {His entire manner changing to one of pleasure) Thank you; have a cigar. My plumbing supplies are the best. Hardman I'm not smoking just now. I really came out, through a sentimental whim, to see Mrs. Dawson and to ask If she still had a picture she once painted. io8 NOWADAYS Dawson {Manner changed) Oh! Mrs. Dawson {Surprised) One of my pictures? Dawson {Loftily) She gave up painting when she married. Diana {Mischievously ) That's father's little joke, Mr. Hardman. Mrs. Dawson Which painting was it ? Hardman Just a water-color sketch — a seashore — a bit of green and a tree. You see how well I remember it. Mrs. Dawson {Brightening and with interest) I have that yet. Hardman Might I see it again? NOWADAYS 109 Mrs. Dawson Let me have the keys, Will. (Dawson gives her the keys, not pleased with the situation J as she goes to the bottom drawer of desk and takes out a portfolio containing a number of cardboard water-color paintings, Diana helps her enthusiastically.) Hardman {To Dawson) Your wife had a splendid talent, Mr. Dawson. Dawson {Dismissing it) Yes, yes. And she's a good wife and mother; that's better. (Hardman smiles, and begins to understand the situation. Diana brings down the paint- ing to Hardman. He gazes at it a long while.) Hardman {Tenderly) Yes; that's it. Diana {Looking over his shoulder) It is lovely, isn't it? Why didn't you show it to me before, mother? no NOWADAYS Mrs. Dawson {Naively) Somehow I hated to look over them again. Hardman More than lovely! Diana Come; just look, daddy. Dawson {Looking at it) You can see a tree like that anywheres. Why paint a thing when you can photograph it so much quicker? (Hardman gives a quick glance at Dawson and then at Mrs. Dawson, who looks down as Mr. Hardman realizes Dawson's opposi- tion,) Hardman I suppose you wonder why I wished to see this again ? Mrs. Dawson Fd like to know why? It was my favorite, too. Hardman {Half smiling at himself for telling) Well, I will tell you. NOWADAYS III Peter Is this for publication? Hardman {Laughing) I'm afraid not: it's the truth. Dawson You're never safe with these newspaper men. Diana Anything beautiful is safe with Peter. (Hard- man senses the situation between Peter and DiANA.) Tell us, Mr. Hardman. Hardman When you've got white hairs and have to catch trains, you're not afraid of talking about yourself and feelings, eh, Mr. Dawson? Dawson How should / know? Hardman {Looking at picture) The background is good. The pinks and blues of the sky melt together, and the horizon line is lost in the haze, as it should be. Suggestion. The secret of 112 NOWADAYS beauty. You can't tell where the sea ends. The infinite space of it. The foreground is a bit soft — too sketchy. I think the tone of the green is not quite true. Mrs. Dawson It has faded a trifle. Hardman {After a quick glance at her) But the tree, dull, dark, leaning away frcfm the winds that you feel have driven over it for years! It stands so alone without a leaf. How did you ever manage to catch the sense of its being so utterly alone? Mrs. Dawson {With simplicity) Why, I just imagined what it must be like — to be there with only the winds and the sea. Hardman {Smiling) I remember the day when you showed it to me, do you? Mrs. Dawson {Recalling with enthusiasm) Yes, at the studio. It must have been a mood I was in that made me paint it. NOWADAYS 113 Dawson {Complacently) That was before she married me. Women get lonely when they're not yoked. Hardman ( Sm iling good-naturedly ) Only then? Dawson (Pointedly) Are you married? Hardman (Smiling) Not yet. Dawson (Settling back complacently in his chair) It's hard for outsiders to understand marriage. Hardman (Referring to painting) But I do know how this " yoked " itself in my mind. Fve never forgotten it. It's always come up before my eyes when I — I felt utterly alone. (More seri- ously) And it taught me the beauty of sadness — of how art can speak to the soul when life about is dead : 114 NOWADAYS of what beauty there may still be in a life without a live branch or a leaf — if only — if only we all are artists enough to — how shall I say? To live beauti- fully. Do you understand? Diana (Radiantly) I do. Hardman (Smiling) You? One so young? Diana You mean it made you live better? Hardman (Admitting it) How did you know that? Diana (Fancifully, as she and Hardman gaze at the picture) Maybe one of the little birds flying just outside of the picture told me. (Dawson squirms uneasily in chair as Nellie enters with Mrs. Dawson's paint boxes. He sees them,) a xV^ Xj« NOWADAYS 115 Dawson {Sarcastically) /Are you taking up painting, too, Nellie? Nellie What's come over this house? Dkna wanted to know if I was taking up dancing. / Dawson / / What are those paints and brushes doing here? Mrs. Dawson {Turning from Hardman, who observes) They are mine, Will, you know. Diana Mother's going to study again. Didn't I tell you? Dawson {Controlling himself because of Hardman's presence) Oh, I forgot. Hardman {Half admonishingly to Mrs. Dawson) Had you let your painting go entirely? 5 Mrs. Dawson I {Cou rage ously) \ Yes. But do you agree with Mr. Dawson: that \ I'm too old to get back where I was? ii6 NOWADAYS Hardman Not if the hand hasn't lost too much with the years. Mrs. Dawson {Looking at Dawson) I thought I might try. Your words have made me sure I must. Dawson Must? Hardman You can always count on my help, if you and Mr. Dawson should come to the city for models or study. (Dawson squirms uncomfortably.) Diana {Quickly) Oh, daddy; isn't Mr. Hardman a good friend to help mother with her painting and you with your plumbing ! Dawson {Drily) Thanks. When we come we'll be glad to have ft. Diana {With vivacity) Daddy, I didn't know you'd consent. NOWADAYS 117 Dawson Consent? Diana And I won't have to live there alone, away from mother and you. Hardman That's so. You are living there alone now. Diana Yes. Father's helping me. (Dawson squirms in chair.) Hardman That's splendid of you, Mr. Dawson. It's seldom that fathers of our generation underst,and the needs of their children. Diana (Mischievously) That's what daddy says. Hardman So few husbands and fathers realize like you how much richer the home becomes when there is a great interest in something outside it to talk over. Dawson Exactly. ii8 NOWADAYS Peter {Aside to Dawson) Bully for you. Dawson Rot! Hardman {To Diana) Mr. Row's very enthusiastic about your ability. You must let me help you like your father. (Looking at watch) I'll be late. Peter (To Dawson) Can I make a news item of your going to the city? Dawson (Aside to him) You do, and I'll sue you for libel. Peter What about the plumbing? Dawson Damn the plumbing. Peter I hope it isn't as bad as that. NOWADAYS 119 Mrs. Dawson {Shaking Hardman's hand as he has turned to say good-by to her and Diana) Fm sorry you must go. Hardman Trains have no sentiment. Diana Thanks for your words to mother. {Significantly) They came just when they were needed. Hardman ( Understanding) Indeed? Then I am glad there was a reason for my coming out. One never knows where one's tiny pebble will ripple, eh ? Diana Show him out, too, daddy. {Whispers comically) And, Mr. Hardman, close your eyes when you go through our red plush parlor. Hardman Good-by, till we all meet together in the city. Dawson {In a business-like tone as he goes up to Hardman) Is there any truth in the story that they're going I20 NOWADAYS to remodel the County Court? Their plumbing's in a frightful way, I am told (As Mr. Hardman smiles, he and Dawson, followed by Mrs. Dawson, go out, leaving door open. Peter starts to follow, when Sam enters down small stairway. There is a pause as the three see one another.) W Diana You'd better hurry, Peter. He'll miss his train. Peter Good-morning, Sammy. I see! Sammy's going to break the news to his father about Betty, eh? Diana z"-^" ( Significantly ) / Yes. Now. (Sammy has flung himself into the chair.) Peter Hope your father is having a pleasant Sunday. (Peter goes out. Diana closes the back doors and comes down quickly to Sam.) \ A Diana \ They'll be right back. Shall I call Betty? V NOWADAYS 121 Sam (Starting up) What business is it of yours, Diana? Diana Some of us must be decent to her. She*s married into the blessed family. Sam I get you. You think I'mi a cad. Diana I didn't know I'd said it. Sam Well, wait till you get a wife. {She laughs.) Oh, you don't realize what this means to me. Diana Do you? Sam Yes. I've got to stay here if father knows. Think of that! I'm married and I've got to be punished in the bargain. Diana And Betty? 122 NOWADAYS Sam {Selfishly) What about me? Diana " Dawson & Son " for yours. Sam Not yet a while. I've got a scheme on that needs me in the city. Oh, you'd laugh if I told you; but it will make me a lot of quick money. Father said he'd carry me for another year. I'm not going to stay here and give that the slip if I can help it. Diana (Slowly) So you won't tell dad till that comes off? Sam ( With determinatto n ) That's just what I mean. I can fix Betty. I'm paying her bills. Diana *"°WiStch the husband nerve jerki I thought dad was. Sam It comes out of my good allowance. All you do is to keep still. I guess Peter Row will hold his tongue if you do, the way it looks. NOWADAYS 123 Diana {Measuring him) And then you'll make it all right with Betty? Sam Haven't I made it all right by marrying her? All she wants is to be kept. Money will fix most skirts and petticoats and clinging vines like her. And re* member you can't make me live with her. Diana Sam, you'd be funny if you weren't so — so rotten. / (She goes to the little door of the small stairs and calls) Betty! Betty! Betty {Off) ^Yes. I'll be down in a few moments. \ (Diana closes the door,) Sam {Going to her nervously) What's your game? Diana You're fairly good-looking as men go. Dressed in perfect taste, and the ring on your hands is a beauty. But it's all borrowed plumage. What have you done to earn it? Ever done a stroke of honest work? Ever dug a ditch or added anything more than your debts? 124 NOWADAYS Sam ^ruck! Diana You had everything done for you because you were a man. But do you know what you remind me of? A weak, clinging vine of a woman. Sam {Insulted) What? Diana Yes. A female parasite. Like those who wear dia- monds and fine gowns, and who never give back to society the things their grandfathers took from it. You're like that, only you wear trousers. You say all Betty wants is to be kept. Isn't that all you're after, too ? The kind of petticoats you say can be fixed with money applies to you, too, Sammy, for like many a rich man's son you're wearing petticoats in your soul. Sam What are you giving me? Diana (Going to him affectionately) I used to look up to you, Sammy. You were my great big brother. Don't make me look down on you. Don't! NOWADAYS 125 Sam None of the soft stuff. Diana {Putting her hands on his shoulders and speaking with great sincerity and emotion). Betty's a dear: but she's weak and not able to fight the world like some of us. For three wonderful years she's loved you, married you, kept silent, done all she could to meet your wishes. And what have you made of yourself? (He listens in spite of himself,) Shouldn't love make us all better when it comes? {Thinking of Peter) Even if — if it never brings together the people it should — even if a girl waits and waits and she finds she must live her life alone: still love should make everything more beautiful, even if it never finds words. {Pause.) But you and Betty have each other and Sam {Brutally) I'm sick to death of her. I don't love her. I made a damn fool of myself marrying her. Now you know the truth. Diana {Astonished) Sam! Sam Yes. 126 NOWADAYS Diana ( Incredulously ) Yet you've been going to see her right along as though you loved her? Sam {Sarcastically) Well, she's my wife, isn't she? Diana {Recoiling in disgust) Sam!! Sam Now let me handle this. If you don't, I'll tell her I don't love her. See? I guess you wouldn't want to be the means of breaking her heart? Diana {Gazing at htm) Are you sure you two are married? Sam Why? Diana {Slowly) I almost vin'sh for Betty's sake she could find there'd been some mistake. {The door opens and Betty stands there. In the pause she gazes bewildered at Sam.) NOWADAYS 127 Betty {With a certain hysterical strength) Diana, will you please call your father and mother? Diana {Slowly) Do you want to be alone with him first? Betty No. Call them. Diana {Opening the door in back and leaving it open) Father! Mother! Will you come here? Betty {Crossing to Sam, quickly) Now tell them, Sam. Betty, listen. {Protesting) Betty Tell them. {Firmly) But Sam 128 NOWADAYS Betty (In a loud burst of mingled power and pain) You've got to tell them, understand? You've got to tell them. Sam {Starting back in astonishment) Betty! Betty {Hysterically J as she puts her arms about him so that the others will see as they enter) I can't leave you now. You've got to tell them. (Dawson and Mrs. Dawson enter and see them together. Betty gives a cry — having ac- complished her purpose — and then sinks back into the chair, hiding her face. Diana goes sympathetically to her. Dawson comes down and stares at them in astonishment.) Dawson {Forcefully) Well? Diana {Appealingly) Father, Sam was afraid of what you might do be- cause he didn't consult you. Betty kept silent as he wished. They've been married three years. NOWADAYS 129 Dawson (Astonished) Married! (He sits in the chair and eyes them grimly,) Mrs. Dawson (With a cry, going protestingly to Betty) No, no! Betty (Looking up at her quickly) Don't you want ft, either? Mrs. Dawson (Confused) Oh, dear Betty, if I'd only known. Betty You think I'm no good? Mrs. Dawson No, no. But you had no one to talk it over with. Marriage isn't what you think. Diana (Realizing her words and looking at DawsON, who has given a quick, questioning glance at Mrs. Dawson) Mother! I30 NOWADAYS Mrs. Dawson There, there, Betty ! It took me all of a sudden. Betty {Weakly again j her strength gone) Please don't let your father be hard on me, Diana. Diana {To Sam, who has been standing by the window) Haven't you anything to say to your father, Sam? Sam I'm not feeling vefy talkative. Diana Father ? Dawson ( Grimly, as they all eye him, after a pause) Afraid I wouldn't like it, eh, Sam? Well, that's where you're mistaken. Sam You don't mean to say you're pleased? Dawson {Firmly) That's exactly what I mean. NOWADAYS 131 Sam (Completely astonished as he sinks into chair) Oh, good Lord! Dawson So I've been keeping you both, eh? Well, it's about time you earn enough to keep her. (Sam starts to protest.) A husband has got to support a wife. That's the law, and it's right. So I'm not going to cast you both out. No. I'm going to be generous and giv.e you the opportunity to support her. Sam Plumbing supplies? Dawson Exactly. And right here in town, too. That's where you stay. You can have your friend Peter Row announce it, Diana. Mrs. Dawson {To Dawson) And Betty? Dawson She'll come here and stay with her husband, where she belongs. Mrs. Dawson {Startled) Here? In this house? 132 NOWADAYS Dawson Yes. Just like you and I did, Belle, when we were married. (Mrs. Dawson is deeply moved.) Does that please you, Betty? Betty I don't care where I live so long as I am taken care of. (Diana comforts her.) Dawson That's the good old-fashioned way of looking at it, Betty. I'm glad to see some of our young women still feel it. So you needn't worry; it's all right. You couldn't have picked a better girl, Sam. And she can help you. Belle. Mrs. Dawson (Not understanding) Help mef Dawson Yes. Seems as though you made up your mind to paint. Well, I haven't any objection now that there'll be somebody here with you to help take care of the house. Diana's gone and you seem tired of it. Now Betty will make it easier for you. Mrs. Dawson {Emphatically) We mustn't ask Betty to do that. NOWADAYS 133 Dawson Mustn't? Mrs. Dawson No! You must help them some other way. They have the right to start right. Dawson (Banging his hand down) They'll start the way I say. I'm paying the bills. Don't you see what our home influence will do to Sam ? Mrs. Dawson Do you see what it will do to Betty? Why, Will, they ought to have a home of their own. Dawson (Surprised) With this big house? Mrs. Dawson (Clearly) It's too small for a new family. She ought to have a place of her own, do her own work for Sammy and herself ; not for you and me. Why, Will, she'd never feel this was her home. She'd feel as though she were a visitor earning her board. Everything she'd do she'd feel was because she had to. Everything you gave her she'd feel was a favor or like taking pay. 134 NOWADAYS Dawson Taking pay? Betty Oh, I don't care. Mrs. Dawson {Emphatically) But /do. If you really want them to be happy, Will, don't ask them to come here and live with us. Dawson Is this some more new-fangled ideas? Mrs. Dawson {Almost involuntarily) No ; it's only remembering how hard it was for me — when I came here to your father's house ! Dawson {Completely astonished) BeUe!! {He stands, staring at her.) Betty {Rising) If I only had money of my own I wouldn't be this drag. ■'^, NOWADAYS 135 Diana {To her) Betty! Betty (Sobbing, as she goes towards the door) That's all it is. Vm poor — poor — and rm Sammy's wife and I've got to do as those who own me say. Oh, I don't care what becomes of me. Diana Betty, dearest Betty ! You've always got me. Dear- est Betty! (Diana puts her arms around Betty, then looks back at her father and mother, and follows Betty off, closing the door,) ^ Dawson {Controlling himself) Sam, leave your mother and me here alone. We've got something more important than your marriage to talk over. You and Betty live here, understand? When you can earn enough to support her, you can do as you damn please. Now you go see Perkins and learn something about plumbing. Get out. Sam Oh, very well. I was a fool to stay home from church to-day. 136 NOWADAYS (Sam goes out the center door, closing it. They wait till he has gone. Then Dawson eyes Mrs. Dawson, who has gone to the chair,) Dawson Now, Belle, I'm trying to keep my temper this morning. What's all this stuff you've been talking mean? Mrs. Dawson (Nervously) Not now, dear. Dawson (Firmly) You said things to Betty just now that seemed mighty pointed at me. Mrs. Dawson I didn't quite know what I was saying, Dawson When we're not watching our words we speak the truth. Mrs. Dawson I tell you I'm upset.. NOWADAYS 137 Dawson But you were calm enough when Hardman was here talking pictures. Mrs. Dawson {Brightening) That took me hack, Will. Dawson {Sneering) To your poverty. Mrs. Dawson And my hope. Dawson {Emphatically) That's all it was, hope. Don't forget that. It's bad food when you're starving. Mrs. Dawson We don't need hope when we are happy. Dawson But you gave up hope when you married me. {She smiles tolerantly, in spite of herself.) I mean your work. 138 NOWADAYS Mrs. Dawson {Sweetly and not combatively throughout) I loved you, Will. It was twenty-five years ago. People felt differently then. Dawson Don't think human nature has changed because a lot of unmarried males and females are going about saying the home isn't what it was. Why, you never even thought there was anything the matter here till Diana got after you last night. Mrs. Dawson {Slowly gaining courage and finding expression) How do you know what I've thought? Dawson I know you've been reading that stuff Peter Row writes. That's enough. Mrs. Dawson I have had time to read. Dawson Yet you'd like to sacrifice that leisure / give you. Mrs. Dawson {Shaking her head hopelessly) You can't understand. NOWADAYS 139 Dawson {Emphatically) I understand you can't wear yourself out at painting and keep me happy. Mrs. Dawson {Half smiling) Is that all I must think of ? Dawson If you're not willing to do that much, why did you marry me? {Walking back.) Wait till Diana gets a husband, and she'll see, too. Mrs. Dawson Yes, she says it depends on the husband. Dawson {He stops and then goes to her) Belle! Mrs. Dawson {Looking up sweetly) Yes, Will. Dawson {Not unkindly) I've been a pretty good husband since I brought you here, haven't I? 140 NOWADAYS Mrs. Dawson {Taking his hand affectionately) You've been good as you saw it. Dawson All this you've been saying to-day about going to take up your studying again and Betty's marriage doesn't mean it's been hard for you, that you've been unhappy here? Mrs. Dawson I've not ceased to love you, Will. Dawson ( Testily ) Then what's the matter with you? Mrs. Dawson {Hopelessly) Nothing, nothing. Dawson Yes, there is. Why, look how even this room is upset. What have I done? Mrs. Dawson Maybe it's what you haven't done. NOWADAYS 141 Dawson {Puzzled) Can't you speak so I can understand? Mrs. Dawson {Eyeing him) That's what I'm wondering. Dawson Something's wrong and I know it's not with me. / haven't changed. But you have. It's all Diana's fault. She's too young to see she's wrong. Mrs. Dawson You always think the young are never right. Dawson Well, don't you get any of her new-fangled Ideas that a girl can go out into the world and not lose something. Mrs. Dawson {Quickly defending her) What has Diana lost? Dawson {Emphatically) She's lost her reverence for her home and me! But she'll get over it. She's got her life before her. 142 NOWADAYS Mrs. Dawson (Goes to him) Will, have you ever asked yourself what have I got before me? Dawson {Halted) Eh? Mrs. Dawson (Gaining confidence) Maybe we'd better try to understand each other. Maybe this talk's been saving up for years. Will (Placing her hand on his arm)y answer me. What have / got before me? Dawson YouVe got a nice, comfortable old age. What more does any woman want? Mrs. Dawson (With a poignant outburst) I want something to occupy my life! (He looks at her in astonishment.) I'm not old or worn out and decrepit. I have my health and strength. I can still do things. Yet what can I do? With my chil- dren no longer needing me. NOWADAYS 143 Dawson But Sammy will be here with you now, Mrs. Dawson (Bitterly) Must I keep on giving to Sammy? {He questions.) Three years of my life, before Diana was born, he had everything. I watched by his side with all my mother's love, through all his illness as a child, gave up willingly, bit by bit, everything for him, was his slave, as I should be, because he was my baby. And then my love followed him when he grew up and went away. Dawson I haven*t denied youVe been a good mother. Mrs. Dawson Yet I wonder if all the motherhood I gave Sammy hasn't been wasted. I might have given it to a child on the street with better results. Dawson (Incredulously) Do you know what you're saying? Mrs. Dawson Yes. It struck me all of a heap as he stood there sneering, without an atom of ambition, without a re- 144 NOWADAYS gard for responsibility, without a single day's work to his credit, and yet taking into his useless life a young girl and expecting her to be happy. Dawsgn (Dismissing it) Wild oats! Mrs. Dawson Which Betty must harvest! Will, what good was all my mother's care if it failed to make a mail of him? Dawson Other mothers I know don't talk that way. Mrs. Dawson Maybe they've thought it, though. Dawson You ought to be ashamed of yourself. Do you re- gret having Diana, too? Mrs. Dawson (With love and spirit) No, no. Don't you see why she means so much more to me? She's like fresh air from the outside world I once thought myself part of. She's brought NOWADAYS 145 something back to me that I gave to her. She's awakened me. She's what I might have been. She's made me feel my motherhood was of use. {Turning aside.) But I can't do any more for her. I'm fifty. That's what I'm thinking of. {Going slowly to chair and sitting down,) I've had my children and they've left me. And I sit here, empty-handed, and ask myself what am I going to do with the rest of my life? Dawson {After a pause) Aren't you content with me here? Mrs. Dawson {Turning fondly to him) I wouldn*t like to leave you here alone. Dawson {Relieved) Oh, you'd like a change of air? Mrs. Dawson {Smiling) Yes; we both need it. Dawson {Trying to humor her) I've been thinking the last few years we might take a little trip somewheres together. 146 NOWADAYS Mrs. Dawson {Disappointed) A trip? Dawson Just as soon as I get through these contracts. Mrs. Dawson It isn't a trip I want. {Abruptly, in a business-like fashion) Will, how much are we worth? Dawson {Completely taken back) What's come over you, an5rway? Mrs. Dawson {Persistently throughout) How much money have we? Dawson {Reluctantly throughout) What has this to do with what you said about Betty and Mrs. Dawson You don't have to stay here like so many other men in business? NOWADAYS 147 Dawson {Proudly) I'm my own boss. Mrs. Dawson {In a kindly spirit) You never take me into your confidence about money matters, Will. Dawson The bills are always paid on the third, aren't they? Mrs. Dawson {Beginning to see the humor in his reluctance, but keeping at her intention to find out) Hasn't the house increased in value since the lake- shore improvements began? Dawson {Shrewdly) What do you suppose I went into the company for? Mrs. Dawson And the business, with what we've put aside? How much is it all? Dawson I've not figured It out. 148 NOWADAYS Mrs. Dawson {Smiling) Yes, you have — to a penny. Dawson (Unwillingly) Well, I suppose, all told, I've got about ( Un- able to do it,) What's this got to do with what we're talking ? Mrs. Dawson I didn't catch the figure, Will. Dawson {Reluctantly) Well, the Trust offered me $75,000 for the business and wanted to pension me with a half-time job in New York. I guess in all there's $150,000. Mrs. Dawson {Pleased) We've that much? Dawson {With a certain pride) That's what Fve got. NOWADAYS 149 Mrs. Dawson (Figuring it out mentally) That's SIX or seven thousand a year income to live on. {He eyes her suspiciously.) What are you going to do with it, Will? Dawson Why, it all goes to you and the children when I'm dead. Mrs. Dawson {Leaning over table quickly, and with a certain naive joy) Will, let's go live in New York. Dawson {Astonished) What! Mrs. Dawson {Quickly) Leave Perkins In charge, and let the business run itself. Dawson Leave the house ? I50 NOWADAYS Mrs. Dawson {Eagerly throughout) Nellie can manage it. Sam and Betty can stay here alone. Let's give them the chance, too. You and I can go to the city and live near Diana. {He gasps in astonishment as she speaks with sweetness and per- suasion.) Don't keep on making money as though there were nothing else. You're tired and worn out. Dawson {Walking up and down) Nothing of the sort. Mrs. Dawson I know better. You need a change from the routine here. You've worked all your life. Dawson Nonsense. Mrs. Dawson Oh, Will, let up a little. We can afFord it. Let's live now. Really live when we are still alive. We'll soon degenerate into a couple of fossils. Dawson That's a nice thing to say about your husband. NOWADAYS 151 Mrs. Dawson We're wearing the same ruts deeper and deeper, until we won't ever be able to get out of them. Let's make our escape. Let's spend our money now. I don't want to wait till you're dead for it. Dawson {Sarcastically) That's kind of you. Mrs. Dawson {With joyful enthusiasm) We can get a small apartment near Diana, and we three can go to the theater to hear music and see pictures, and I can take up my studies again in a small way, and then once in a while we can run over with Diana to Paris Dawson {Overwhelmed) Paris! Mrs. Dawson You asked me what it all meant. There's something inside Dawson You've got it, too. 152 NOWADAYS Mrs. Dawson Yes; it's calling me, a middle-aged woman. Maybe it's in the air. I don't know. But I must be near Diana and get away from all this. Dawson {He stops J and comes down to her slowly) Then you do mean you'd like to leave me? Mrs. Dawson (Sweetly and with hope) I want to take you with me. Dawson You know I wouldn't do any such damn foolishness. Mrs. Dawson {Hurt) You'd rather have the house own you? Dawson Will you tell me what I'd be doing while you were out all day at the studio, painting? Mrs. Dawson {Surprised) Why, I'm not asking you to give up all your inter- ests. NOWADAYS 153 Dawson You're not? Mrs. Dawson {With consideration and understanding) I wouldn't ask of you what you asked of me — that wouldn't be fair. Perhaps you could open that branch office there that you've always talked of — or accept the Trust's offer. {He starts away impatiently and she restrains him.) It will be enough to keep you occupied part of the time with what you like to do, keep us near our daughter, and give me a change, also. We don't need more money. Dawson {Bitterly) And the rest of the time I suppose I'd be fussing about the flat. Mrs. Dawson {Hurt by his attitude and speaking with strength and dignity) Yet that is exactly what I do every day here with- out anything else, as you have. I'm not asking some- thing unreasonable; only to be with Diana and have a little more life. Think — think. I stay here and do what Nellie and another servant could do, because you think that's a woman's place. I help wash the 154 NOWADAYS dishes, see that the beds are made, the meals ordered, things kept clean — the same thing over and over every day. Then I sit down and vi^ait for you to come home tired with making the money we don't need. And all that necessary work about the house we could afford to pay for. Why, I could make enough money myself, out of my little paper dolls, to pay for an extra servant. Dawson You can put it any way you like: you're tired of me; you don't love me. Mrs. Dawson (Moved) It's because I love you I'm trying to make you see. I'm not forgetting you are the father of my children. But I can't keep doing the same things over and over till I die. I can't just go on as I have. I'm lonely, Will, lonely. I want my work again and my daughter more than all else, — my girl to talk to, to be with. Dawson (Emphatically) There's only one way for that. Have her stay here, Mrs. Dawson And make her sacrifice for me? NOWADAYS 155 Dawson That's all there is to it. Mrs. Dawson No. (He halts and looks at her, as she speaks kindly but firmly) I could go to her. Dawson (Astonished) Without me? Mrs. Dawson (Poignantly) What must I do, Will? I love you both. Dawson So long as I pay the bills you stay with me. Mrs. Dawson That's marriage. You said it to Betty, you say it to me. You look at it through the eyes of money. That's what it all seems to get down to more than love. Money, money, money! (With determination) Well, let's talk money. If I went to Diana, would you refuse to support me? Dawson I have the right to refuse. 156 NOWADAYS Mrs. Dawson Is that the law? Dawson Made by sensible men to protect the home. Mrs. Dawson Then a home must be in a pretty bad way if a man has to tie a woman by his purse strings. Does the law give a wife the right to collect back payments? Dawson Belle, you're ridiculous. You talk as If you were my housekeeper and not my wife. Mrs. Dawson {With feeling) If I'd been your housekeeper at twenty-five dollars a month you'd owe me three hundred dollars for each of the twenty-five years I've lived with you. That's nearly eight thousand dollars' worth of service that I've put into this house, which has been my home as well as yours. Yet the law gives you the right to say what I shall do. You can cut me off without a penny if I wish to be with my girl, so long as you obey the law — without a penny till you're dead, because you made the money. Didn't I make money for you by saving it? Didn't I do the work of an extra servant and gladly do It when we had to save? NOWADAYS 157 If I'd been your housekeeper and living with you, I could have sued you for that eight thousand dollars. But Vm not entitled to a penny to go with Diana because I am your wife. Dawson {Hardly containing himself) You've swallowed a lot of stuff that's not agreeing with you. You think you're right because you want to do something wrong. You're trying to rearrange things that have gone on successfully for centuries and you can't do it. The one who makes the money shall have the say on how it shall be spent. No home is a home without somebody at the head of it, and thank God, I'm going to be at the head of mine. You've always accepted the way I saw it, or at least you never said a word till Diana came back. I saw that you had everything and worked myself sick to give it to you. You talk of a salary! Why, I paid you a dozen times over and Mrs. Dawson {Poignantly topping his words) And I bore you two children, and my heart's crying out for Diana. And you won't go with me, though you have nothing holding you here, nothing but the past. You're forgetting I am a mother as well as a wife. {She starts towards the small stairs. He is halted by her tone.) 158 NOWADAYS Dawson (Anxiously) What are you going to do, Belle? Mrs. Dawson (Quietly, as she stands by the door) I haven't made up my mind. I've been saying things I never thought would come to my lips; yet they all seem as though I'd said them to myself even before my daughter came back. She has opened the door, but I don't know whether I must close it again or whether I can go out. I don't know. (As she opens the door and starts off, he turns, thrusting his hands in his pockets,) Dawson Well, what the Hell's come over women nowadays? (Mrs. Dawson has gone off, closing the door. He stands there, puzzled,) [curtain] ACT III MOTHER ACT III Diana's studio: "New York City, Late following September, A cheap but pleasant studio up five flights of stairs. At the left is the doorway opening on the stairs, which are indicated outside by the banister, A dumbwaiter be- yond this, with ropes visible when the little door is open. In back, at the center, is a doorway opening on what is the bedroom beyond. This is indicated to be as simple as possible. Up extreme right is the gas stove, near a sink, which is concealed by a portable screen, Down at the right is an alcove effect, projecting off stage, which is obviously used by Diana for her work. The clay model of the statue mentioned in the first Act is concealed in this, but is invisible to audience. There is a wire across the opening of alcove, upon which is a pretty curtain attached to rings and easily pulled over. This conceals the statue from those on stage when desired. On the right side of alcove in back long panes of studio glass are seen, reaching obliquely across ceiling and part of main room. At rise of curtain the sunlight pours through these. Upon the walls are some typical sketches and casts. An easel, an unfinished canvas pmnting, and sculpturing paraphernalia, etc.; candlesticks, kerosene lamp, etc.; a long kitchen table, i6i i62 NOWADAYS with two chairs near the center of the room and a china closet in the upper lefthand corner^ complete the fur- nishings. The room, with its feminine touches, should indicate forced economies, but must not suggest pov- erty. Mrs. Dawson is seated alone, humming before the easel, painting. She seems happy. This continues for some time. She looks off from it critically and shakes her head and then sits for a moment in despair. The buzzer rings and she goes to the dumbwaiter. Mrs. Dawson {Calling down shaft) Hello, is that you, Diana? What's the matter? The keys? Which ones? Letters? Wait a second. (She gets a letter-box key from her pocketbook, wraps it in paper, and throws it down.) Look out! Did you get the butter? All right. {She closes the dumbwaiter and comes into the room, stopping a second, thoughtfully.) Letters ! {She quickly pulls aside the screen, revealing the gas stove and sink. She begins humming as she fills the kettle, lights the stove, and pre- pares to make tea. Then, still humming, she goes to the easel, looks at it, and silently, with a sigh, puts it back in corner. She gets cups and saucers from cupboard, and places them on table. After a pause Diana comes in, all out of breath.) NOWADAYS 163 Diana Phew! Those stairs! Mrs. Dawson Wait till you get your breath. Diana Don't blame people for not dropping in on us. Mrs. Dawson {Cheerfully throughout) Mr. Hardman says it must be like Heaven — splen- did when once you arrive. Diana Speaking of Heaven, mother, I've got seats there for to-night's summer opera. (Mrs. Dawson smiles.) Isn't it funny, the further down you are in pocket, the further up you sit in the theater? Mrs. Dawson I think Tannhauser had a ballet in my day. Has it yet? / Diana Same old ballet. /... i64 NOWADAYS Mrs. Dawson {Smiling) I love opera so. It's such a relief to get away from the housekeeping, too, isn't it? What did you do with the butter? Diana (Laughing) It's wasting away. Did the ice come? Mrs. Dawson (Indicating her painting) Just as I was putting a finishing touch on a " Sun- set in Summer." Diana (Taking butter and going off into alcove) I'll save its life. Mrs. Dawson Did you get the letters? Diana Yes; one from Peter and Mrs. Dawson Has your father written yet? NOWADAYS 165 Diana {As she comes in and gives her a letter) Yes. First time since you've left home he's honored us, eh? Mrs. Dawson {Looking at handwriting) Thought he'd forgotten how to spell my name. {Seriously) After all these months. Diana {Shaking her playfully) Open it. Mrs. Dawson Can't I read my love letters my own way? Diana Why, mother, you're blushing. Mrs. Dawson Am I? Diana {Puts her arms about her) You do love him, don't you? i66 NOWADAYS Mrs. Dawson Vm sure I don't know why else I have written him every week about all we're doing, and asking him in every letter to come to us. This must be an answer to the one I wrote day before yesterday. Diana About your going to Paris with me if I won the competition ? Mrs. Dawson Yes. Let's see what he says. (Opens it and reads) " Belle : I am coming to see you. You are as stubborn as I am." (She is pleased.) Diana (Drily) It seems to run in the family. (Fixing tea together and drinking it throughout the following) Wonder if dad's coming to eat humble pie? Mrs. Dawson (Smiling) Where can we order it ? Diana Mother, we can't afford pie and Tannhauser all in one evening. NOWADAYS 167 Mrs. Dawson (Smiling) We've had rough sledding, haven't we? Diana (Joyfully) But on our own snow. Mrs. Dawson I wonder if your father knows I just couldn't touch his check? Diana Of course, he knows. Mrs. Dawson (Going to drawer and taking out a legal document) Every time I need a good laugh I look at the state- ment he drew up when I came here with you. (Read- ing) ''Bill of Service. One wife at $25.00 a month for twenty-five years — exclusive of gifts for clothes, food and masculine protection, $7,500, deposited to Belle Dawson's credit for whims, foolishness, and Paris." (They both laugh heartily,) Diana (Hugging her) (Hugging her) Mother, you're another woman. If he goes with you to Paris now, he'll be committing bigamy. i68 NOWADAYS Mrs. Dawson {Slyly) A little experience like that might do your father good. Diana Mother, youVe really not a tiny bit sorry you came with me? Mrs. Dawson It's been a wonderful winter. Diana But youVe missed daddy. Mrs. Dawson You know I'm put out at him. I was sorry for him at first. He expected that to bring me back. But now Diana He's hurt your pride? Mrs. Dawson How could I go back? Think of it: telling me, his wife, I could only come back if I came for good ! Diana \\ y^ (Mock seriously) / And you've gone to the bad. / / NOWADAYS 169 Mrs. Dawson I'm going to Paris with you. Diana Suppose I don't win the competition? Mrs. Dawson After you putting your heart in it? Diana Oh, I don't dare think of failing. Mrs. Dawson And if you should fail, dear? (She goes to Diana sympathetically, and Diana pats her hand, understand- ing.) We are not all made for success. But you can't fail, dearest. Diana Father will gloat so if I do. Mrs. Dawson , {As they put away the tea things) ^ *x^ Not at all. If you win he probably will puff up and \ j^/ burst with pride. Diana What a funny spectacle! \y I70 NOWADAYS Mrs. Dawson {Abruptly, as Diana laughs good-naturedly throughout) The more I think of married men, the more I wonder why God made so many fools. If they'd only treat us like human beings instead of something they own! They are all alike. Diana All except Peter. Mrs. Dawson He's as blind as your father. Diana {Comically) Mother, how terrible of you! Mrs. Dawson Your father and Peter are both leading their lives without consulting us, yet we're fastened to them both by our heartstrings. I made a mistake in expecting your father to see. He's too old and near-sighted. But Peter Diana Peter understands women. NOWADAYS 171 Mrs. Dawson Yet he has your little heart in his big hand, and has he asked you once what you want him to do with it ? Diana {Hesitating) I told you I am an artist, and he feels- Mrs. Dawson Nonsense. There's only one reason he won't ask you to marry him. Because he's too poor to support you. Diana (Seriously) He hasn't given me the opportunity to share things with him, has he? Mrs. Dawson (Emphatically) Diana, why shouldn't you make him? Diana (Playfully, astonished) Mother, I thought I was teaching you. What have I hatched? Mrs. Dawson We're just as bad as the men. 172 NOWADAYS Diana I feel worse. Mrs. Dawson We'd get more if we women weren't afraid to ask for it. Diana {With a thought) You mean we're afraid to ask a man to marry us if he won't speak? Mrs. Dawson Yes. We are afraid of grandmother's blush. {There is a knock at the door.) Daddy! Wait. What for? Diana Mrs. Dawson Diana Mrs. Dawson {Smiling) Never mind. I was wishing we had that humble pie. (Diana opens the door. Mr. Hardman, very much out of breathy enters.) NOWADAYS 173 Diana Oh! Hello, Mr. Hardman. Mrs. Dawson {Sweetly) It*s you, Oliver. Come in. Sit here. Hardman {Seated) I ought to be used to those stairs by now, eh. Belle? Diana {As she has crossed and pulled over the curtain, con- cealing part of alcove) If ever you want to find out your real friends, live up five flights of stairs, without an elevator. Mrs. Dawson Have some tea? Hardman No, thanks. {Referring to curtain) Diana, you needn't conceal the crime any longer. I know now why you've always hidden that off every time I came. Mrs. Dawson {Eagerly) There's been a decision about the statue? 174 NOWADAYS Hardman {Humorously, delaying to tell them) So that's what you were doing — when you weren't making little plaster paper-weights to keep the rent down. {She smiles.) You knew I was on the Com- mittee; but didn't want to influence me. Diana {Eagerly) I wanted to influence you. Anything to win. Mrs. Dawson But did she win ? Hardman {Enjoying it) I have two surprises for you, Diana. Diana {Eagerly) What's the other one? Hardman You've won, Diana. Diana {Not believing it) I've won? NOWADAYS 175 Mrs. Dawson (With great joy throughout) She's won? Hardman 1 opened the envelopes last night after the selection had been made and found your name. Your sketch was very elaborate and the model perfect. It's a wonderful idea and will be even more beautiful when cut in marble. Fd give a good deal to have even thought it. Mrs. Dawson {With great joy, and shaking Diana, who stands staring before her very seriously) Dearest, you've won, you've won! Oh, my girl, I knew it, I knew it! I've won. Diana {Dully) Mrs. Dawson Yes, yes. Think of it, Diana I've won. I've won. {She sinks into chair and murmurs half inaudibly, as she bursts into tears) Oh, Peter! 176 NOWADAYS Mrs. Dawson (Goes to her consolingly) There, there, dear; don't cry like a woman — don't, don't! Diana I dm a woman, mother. I want to cry. Hardman (Placing hand on Mrs. Dawson, tenderly) Let her. Mrs. Dawson She's always had such courage, Oliver. But we all need a little success, don't we ? Hardman It's often harder to bear than failure. Mrs. Dawson But it is success. And she's done it all herself. Diana It's you, mother, who helped me make it possible. You. (Hugging her) Oh, she's the dearest mother in the world, isn't she? NOWADAYS 177 Hardman {Smiling tenderly) Everybody's mother is the dearest in the world. Mrs. Dawson {Giving a contented sigh) And now I am satisfied! Diana {Going to Hardman) Forgive me for seeming like a foolish girl. We're all kids, we artists, eh ? Did you ever feel like crying, Mr. Hardman? Hardman Yes, Diana; but it was long ago. Diana Don't think I am ungrateful. Hardman {He takes her hand, and slowly pulls her head over as he kisses her forehead) You got it from your mother. Mrs. Dawson Not everything. It was a man's faith that helped her. 178 NOWADAYS Hardman {Cheerfully) Now comes my second surprise. Diana I can't stand much more. Hardman But first I want to suggest you have the marble cut in Paris. Mrs. Dawson Paris ? Diana {Joyfully) Of course, we'll go there. Marble's cheaper. Mother's dying to go to Paris. Hardman It's an expensive place to die in, I'm told. I've never tried it. I've a commission for you, Belle, to help you live there. Some interior sketches. Diana {Joyfully) So she can be with me? NOWADAYS 179 Hardman Partly. Mrs. Dawson You've been a good friend. (To Diana) But do you want any excess baggage now that you have all that money? Diana Mother! Mrs. Dawson Oliver, we're both so happy, aren't we, over her success ? I don't think I'd ever again have the courage to ask you what I'm going to. Will you have the courage to answer me honestly? Hardman (Puzzled) Why, of course. Mrs. Dawson (She goes back to easel and brings down to him the canvas she has been pmnting) Look! You've seen all the others that I did when I was not painting the paper dolls. Now tell me, honestly, have I gone on any? (He hesitates.) Tell me whether my hands haven't grown too old to get back the skill that lives only by long effort. Hasn't the silence of twenty-five years stilled the spark you said was mine? i8o NOWADAYS Diana (Going to her) Why, mother dear— — Mrs. Dawson Tell me, Oliver, can I ever be anything more — ^like I might have been? (Hardman looks at Mrs. Dawson in a friendly, frank way, as though not knowing iiow to answer her. Then he bows his head. She has watched him, with a sweet smile upon her face. Slowly, but not too sadly, she goes back to the easel, replacing the picture. As she comes back quietly, apparently reconciled, Diana, who has looked at Hardman and caught his sad expression, goes to her mother and embraces her fondly. Mrs. Dawson offers her hand to Hardman in a frank, unsenti- mental fashion.) Thanks, my good friend; thanks. You see, I knew soon after I came here. {Smiling throughout) I passed it on to Diana, and lost it myself, eh? Don't say anything more. I can still do paper dolls, and they please the little children. Diana Mother ! Mrs. Dawson YouVe known it, too, Diana; haven't you? NOWADAYS i8i Diana I thought you were so happy just trying. Mrs. Dawson {Cheerfully throughout) And being with you. Why, girl, Fm not sorry or broken-hearted. Haven't I helped my girl by being here? Can't I still go on helping her? Diana {Eagerly) Yes, yes, always. Mrs. Dawson Think of it, Diana; think of all it will mean to you: Paris, opportunity, success, and the knowledge you can make beautiful things. I have that knowledge, too: for I haven't failed in my motherhood. You are beauti- ful — all through. I'm so happy you have what has passed me by, so happy. Hardman ( Tenderly ) Belle, I'd give up all my position and reputation to be able to talk like that to a daughter of my own. Mrs. Dawson {Looking up and smiling) You've missed something, too? i82 NOWADAYS Hardman A great deal. {Half whimsically, as he glances at Diana) Did you ever notice how everybody in the world is wanting something the other fellow has ? Diana The statue seems so unimportant all of a sudden. Mrs. Dawson {Anxiously) There now. I've robbed you of the joy of success. Diana No. Only how can any artist in the world ever create more beauty than life itself makes? Hardman {Earnestly) If you feel thatj you know the first great secret of success. {A knock is heard.) Mrs. Dawson ( Cheerfully ) Your father. He'll be so happy. Hardman {Stopping her) I'm afraid he's grown impatient waiting for me to call him. It's the other surprise. NOWADAYS 183 Diana {Grasping it) Peter Row! Hardman I wired him the news and said you wanted to see him. Strange how I knew, eh? (Hardman has opened the door, and Peter stands there, smiling. He enters and closes the door.) Peter Diana! Diana {He stands looking only at her as she takes his hand) Peter! Mrs. Dawson Fm here, too, Peter. Peter So you are. How are you? Mrs. Dawson I'm bearing the news splendidly. Peter Isn't it fine? i84 NOWADAYS Hardman (Recognizing the situation and taking up his hat during the embarrassed pause) You haven't answered me about that commission, Belle. Diana She'll do it. Mrs. Dawson You wish it, Diana? Diana Of course, I do. Mrs. Dawson Then I'll come around to the office to-morrow for particulars. Hardman All right. Peter, I wired you to interview Diana for the "Arts and Crafts Monthly." Remember. That's all. Peter I'm a good poker player. I know my limit. Hardman {By door, referring to stairs) It's so much easier going down. NOWADAYS 185 Peter You ought to try sitting on the steps with a harp in your hand. Diana {To Hardman at door as Peter has gone across to Mrs. Dawson) I've got a copy of the model in there to exhibit at the Academy. {Referring to hidden model) I'm going to give father one if he'll destroy the terra-cotta. {Smiling) Will you let me make a replica for you? Hardman Thanks. I'll keep it with the water-color your mother gave me. It will fill a place in my house that's been long empty. (Hardman goes out, closing door.) Peter You ought to see how mad the town is. You might think a dog bit it. All the old pinheads were sore because a woman won it. They think it's immodest. Diana {Laughing) Wait till they see the statue. Mrs. Dawson Did you see Mr. Dawson? i86 NOWADAYS Peter He 'phoned me to find out who won the prize. Diana {Pleased) He did? Peter He says he always knew you'd do it. (To Mrs. Dawson) He thinks Diana's got a mind like a man. Mrs. Dawson {Drily) Couldn't he do any better than that? Peter There's no reason why, he added, if he supplied the plumbing you shouldn't supply the art. Diana The family feeling to the end! Mrs. Dawson Did he say anything for publication? Peter He told me to tell all the pinheads in town to go to Hell, with his compliments. NOWADAYS 187 Diana Sounds as though he were thinking over that Paris proposition. Mrs. Dawson {More interested) What did he do? Peter He rang me off. Had to make the B. & O., Vm told. Mrs. Dawson {Looking at her watch) Yes, he must have been held up on the way. Diana And brother Sammy? Peter Sam*s been arrested five times for speeding In your father's new machine. Says it advertises the firm. Mrs. Dawson Are he and Betty getting along any better? Peter Yes, he's away now. — Been off some days on a business trip. {After a 'pause) Betty and the baby i88 NOWADAYS came on the Pennsylvania with me. {They both look up, quite astonished.) Felt like a married man. She found out the train I was leaving on and met me at the station. Says she wanted to see you, Mrs. Dawson. That's all I could get out of her for once. Mrs. Dawson Strange ! Diana Where is she? Peter At the Hotel Mildred — round the corner. Mrs. Dawson {Putting on her bonnet) Fd better go — if you don't mind, Peter. Peter {Smiling) Vm bearing the news splendidly. Diana Bring her here, dear. Mrs. Dawson {Puzzled) What could have brought her to the city—- and with the baby? NOWADAYS 189 (Mrs. Dawson goes out, Diana and Peter stand in silence some moments. The late after- noon sun deepens into red during this.) Peter Well, you've done it. Diana I simply couldn't disappoint you. Peter It would have made no difference in my faith had you failed. Diana You said when I was a success you'd tell me why you wouldn't come to the city. Peter Are you sure you haven't guessed? Diana (Frankly and honestly throughout, with no coquetry) A girl likes to have a fellow say it. Peter Even when he feels he has no right? 190 NOWADAYS Diana Don't you think she should have some say about that — if they're both honest? Peter You're going to Paris whether I say it or not. Diana {Impulsively) y How much does it cost to live in Paris? Peter For a bachelor? {She nods,) A million a minute. Diana For a married man? Peter Nothing to speak of. Diana How much would it cost me? Peter They'd pay you to go there. Diana Honestly? NOWADAYS 191 Peter No, not honestly. Diana But if I lived in the Latin Quarter with a married man? Peter Whose married man? Diana My own. Peter You've got a husband in sight? Diana Yes, I've had my eye on him for some time. Peter, will you go to Paris with me? Peter To meet your husband? Diana To be my husband. Will you be my husband ? Peter This isn't the way it's generally done, is it ? 192 NOWADAYS Diana It's the only way I've ever done it. (Seriously) Peter, I mean it. Peter That's the trouble. Diana You're not going to refuse me? Peter (Taking her hand) Diana, ever since you were a kid, with your hair hanging down like a bell rope, and I was trying to be comfortable in my first long trousers, you've meant everything to me. Diana You ought never to have put on those long trousers, Peter. I was lost from that moment. Peter I've watched you grow up and loved you more every time your hair went higher and your skirts went lower. I saw early you had a great gift. When you're dead they'll call it genius. And I made up my mind I could do my little share towards your success by just understanding, and not hindering you. NOWADAYS 193 Diana I've held your hand through the years. Peter i Then don't make me feel I did it all for a reward. I was doing it for you, Diana. You'll go out- into the world now and meet men — men who can give you more than a bum reporter on a standpat town paper. Others will give you opportunity — ^and that's almost as important as having genius. Why, Diana, I'm not going to stand in the way now. Wait till you've seen the world a bit, and what it has in store for you, before you talk of marriage. No, no, little Diana of the pinafores, Peter of those first long trousers has got to refuse you. Diana {Who has listened, with a whimsical smile) Are you through? Peter {Smiling) Are you going to edit my copy ? Diana Peter, you men are so funny. Peter Do I deserve punishment, too? 194 NOWADAYS Diana Yes; if you're going to spoil my faith in you when I need it most Peter {Shaking his head) You don't need me any longer. Diana • It's what you've given me that has made me what I am. Why, you are part of me, Peter. Are you going to make me feel I'm a failure because what I loved failed me? {He looks at her questioningly.) Yes. There must be thousands of women all over the world whose lives would become richer if only there were a man to help or understand; women to-day breaking through their traditions and inheritances, their cramped surroundings, and reaching out. But they can't all do it alone. They need the men to understand and help. Look at mother and how hard father has made it for her. But it's been easier for me. I've always felt your hand. It was your words that gave me the courage to live up to what I felt. Peter You would have gone on, anjrway. Diana Yes, in a fashion; but not with the same firmness of foot. I knew your spirit walked by my side. And NOWADAYS 195 now that we've reached the turning place, I won't have you leave me. Peter I will always be there. Diana I want you, Peter. You! This moment means more to me than Peter Than what may come with your work? Diana Yes. It is here my life and work seem to have met. You mean both. I want both. I'm throwing aside all my inheritance, forgetting it's the man who should propose. I'm asking you to marry me, Peter, because we love each other. I'm asking my full life with the man I love. And you're failing me for the first time. (He looks at her in question.) You always said marriage would have a better chance for happiness when a man and woman both contributed to the home. But here you face the situation and fail to live up to what you said you believed. You're not putting aside all your traditions and feelings that your grandfathers held. You're not meeting me with the same freedom and honesty I'm giving you. For you won't ask me to marry you, though I can contribute my share now, 196 NOWADAYS because you really feel a man should support a woman and you haven't enough money to support me. Peter {Starting to turn away) You see, no one is quite free from the past. Diana {Putting her hands on his shoulders and speaking with great frankness and honesty) I have no feeling that I am pocketing my pride. I'm honest and glad that I'm free enough to ask you to marry me. Wouldn't I have failed you if I'd been held back by the false feeling which holds you back ? Peter It's different. Diana ( Withdrawing) You say that? You who made me feel you were a man with the same way of looking at life that I have? {She hesitates a moment and then, with a quick resolution, she pulls aside the curtain which conceals the model of the statue.) Look! Peter ( Gazing) The statue? NOWADAYS 197 Diana Yes. " Democracy." I got the thought that day when you were by my side. It was the result of all we had talked over. I tried to catch it in marble. A man and a woman marching side by side, step by step. I've broken away from the old form that made the man lead far ahead with the woman trailing behind. Peter You put them on the same line. Diana Both looking far ahead. Peter With hope in their eyes. Diana Yet, as I modeled them both, I felt they were not complete without — ^without Peter The child. Diana {More softly) See how it's carried between them. Not the mother alone, but the father, too, holding the little hands as they climb up the incline 198 NOWADAYS Peter Together. Together. Diana Peter (With awe and enthusiasm) It's wonderful ! Diana {Turning to him with a quiet, earnest intimacy) Peter, doesn't that tell you all my heart is asking? Shall I be kept from my right to that because you haven't a lot of money when I have enough now to start our lives together? What right had you to be silent when it concerned my life, too? Shall you and I waste our years of youth because you wouldn't speak? Peter, we belong to each other. I want you. I love you. {He draws her to him as she looks up eagerly into his eyes. Then he kisses her and still holds her,) Peter {Comically) Shall I do your housework for you? NOWADAYS 199 Diana (Same) Peter, I love you. Peter Sammy won't like my marrying you for your money. ( They kiss.) What will I do with a bride in Paris? Diana Forget you're married. Peter Are you going to give me an allowance? Diana (Smiling) So much a week till you finish your novel. Then you can buy me an automobile. Peter Must I write my masterpiece now? (She nods,) I feel more like living it. Diana (Radiantly) We will live as well as work, won't we, Peter? 200 NOWADAYS Peter Watch me. {They kiss again,) (Mrs. Dawson enters. She sees them and they turn.) Mrs. Dawson I missed Betty. I thought she'd come around here. Tm not intruding, am I? Diana No, mother. Peter's consented to be my husband. Peter It's got past the Ways and Means Committee. Mrs. Dawson You're really going to marry my girl? Peter It will be real enough. Mrs. Dawson {Naively) How did you ever get up the courage to ask her? {He coughs.) You're not going to ask her to give up her work? NOWADAYS 201 Peter I've got to live. Besides, I'm not vain enough to feel a husband is sufficient excitement for any wife. Mrs. Dawson {Going to him and kissing him) Be good to her. I shall miss her. Diana {Looking up) Why, I'm not going far away from you, dear. Mrs. Dawson Where is he taking you? Peter I'm going to give Paris a treat first. Diana We three, dearest. Mrs. Dawson We three? Diana Twenty-five thousand dollars, minus marble, will do it for a while. 202 NOWADAYS Peter Say, Mrs. Dawson, I've got a few diamond-studded Ideas I can hock to some of the newspaper syndicates. They will pay for the blanc-mange and the tutti- frutti. Mrs. Dawson (Smiling throughout this and keeping her spirits up) I can't go any further with you, Diana. My part is finished. Mother! Diana {Halted) Peter {Seriously) You mean I'm coming between you two? Diana No, no! Mrs. Dawson I stayed by, waiting till you two were ready. I didn't know when you'd fix it up. You were both so foolish about it. I knew I'd have to lose you, Diana. I've gone as far as a mother can go with her girl. Diana Yet it was you who showed me I should ask for it. NOWADAYS 203 Peter {Turning away) You make me feel like a cradle-snatcher. Mrs. Dawson It will come to you both, some day. IVe held on longer than most mothers. Diana Dearest, I didn't think it would mean this. Mrs. Dawson You should not have thought of me, at this time. Peter Mrs. Dawson, won't you come along for my sake? The way she kidnapped me just now I'm afraid to be alone with her, really I am. She's going to make me work. Mrs. Dawson Honestly now, the two of you — don't you want to go ofE by yourselves? Diana and Peter ( Together) No, no. 204 NOWADAYS Mrs. Dawson Then I won't consent to your marriage. — ^You ought to be ashamed of yourselves. Why, Peter, you're marrying her, not her family. Peter That isn't customary, is it ? Mrs. Dawson {Smiling and trying to keep back her tears) I'd be a nice sort of mother tagging around like an old trunk that ought to be placed in the attic. Didn't I tell your father the same thing about Betty and Sammy? No, young people should start alone. Imagine taking a mother-in-law with you to Paris. (She goes to Diana.) Dearest girl, we older ones can only go so far with the younger, then we must hold our hands out after them as they go on. I fooled myself once into thinking I could always be with you. But I'm fifty-one. Don't you see, Diana? You gen- erally do, no matter how hard it is. Diana {Realizing it) Mother, you're not afraid to let me go with Peter? Mrs. Dawson He's a thief, but I like him. NOWADAYS 205 Diana (Firmly) You will stay with me every moment till Mrs. Dawson {Losing control of herself for a second, she hugs Diana quickly) Every moment — every moment till then. (Peter has gone up in back during this,) Diana (After a silence) And what will you do when Fm gone? Mrs. Dawson • I haven't thought it out. Diana You'll go back to father? Mrs. Dawson Go back to him, just because you're going to Peter? Indeed not. Mr. Hardman says I'll never be a great painter. I wonder if I might be a Cubist ? (A timid knock is heard,) Diana (Jumping up) Father ! 2o6 NOWADAYS Peter Timid knock for daddy-in-law. Diana Wait till you hear what he says about my coming marriage. {She opens the door and Betty stands there, holding her baby. She seems frailer and is out of breath.) Betty, dear! Fm so glad to see you. Come in! Let me take the baby. Oh, how dear she is. {She closes the door, after kissing Betty and taking the baby.) Mrs. Dawson ( Going to Betty and greeting her affectionately as she makes her sit down ) I missed you at the hotel, dear. Betty I must have passed you. Mrs. Dawson Wait till you get your breath. Everybody does. Betty May I have a mouthful of water ? It's so warm. NOWADAYS 207 Diana {Showing baby to Peter, who has come down to her) Look! Peter Hasn't it grown? Diana " It "? ^Vhy do men all call a baby " it "? Peter That's what I was at the start. Diana She's a dear. Peter Got Sammy's mouth. Diana And Betty's eyes. Peter Your grandfather's nose. Diana Isn't she beautiful? She feels so warm and real. {Offers it to him. He tries to avoid it,) I want to see if you know how to hold them. 2o8 NOWADAYS Peter Think I'm going to wrestle with it? Diana {As he takes hold in an embarrassed way) Not that way. Peter Oh! I thought Fd dropped it — ^her. Diana {Showing him) This way. {Stands admiring as he smiles broadly.) You're fine, Peter. ( Then she puts her hand seriously on his arm.) Peter, you know all I'm thinking? {He lowers his eyes as she speaks with an intimacy, while she glances from the baby to him.) So much greater than marble! (Mrs. Dawson has given Betty the water and then crosses and takes the baby from Peter.) Mrs. Dawson {Sweetly) What a dear baby! Let me hold her. Diana Takes you back, eh, mother? NOWADAYS 209 Mrs. Dawson A great many years. (Mrs. Dawson has seated herself, holding the baby, as Betty has risen and Diana has gone to her affectionately.) Diana What brought you here, Betty? Betty {Slowly) Sammy's left me. (Diana holds her in astonish- ment. Mrs. Dawson looks up from the child.) Peter You're mistaken, Betty. Mr. Dawson himself sent word to the " Times " that he'd sent Sam on business to Betty {Interrupting) He doesn't know Sammy's gone for good. / know. He told me. Mrs. Dawson {Half to herself) I always thought he'd 210 NOWADAYS Betty Don't pity me. He didn't love me, and after what he said to me — oh, I can't repeat it — I guess I don't love him. And here's our baby. {Helplessly) What can I do? Diana {Tenderly) Did you come to us because it was too much for you at home? Betty I don't know why I came. It was the only thing I could seem to think of doing. Mrs. Dawson, you left me there, and it was too much for me. It isn't that Mr. Dawson's unkind. He seems to understand. He's fond of the baby, too {Half smiling), though he wishes she were a boy. But I don't seem to know what to do or how to do it. I can make pretty baby clothes and think of all I'd like baby to be and love her to death . But I don't know how to take care of her, and I'm afraid. Diana You mustn't be afraid, dear. Betty Oh, Diana, I'm not much use and God's given me a little baby to bring up and I don't think I can. NOWADAYS 211 Peter ( Tenderly ) And you came here because? Betty {Her face brightening) I thought perhaps youd help me, Mrs. Dawson. Diana Mother? Betty Yes. She's had babies. She might take care of my baby and bring her up so she will be like you, Diana. Mrs. Dawson {Half to herself) Like Diana. Peter {Kindly) You*re not wishing to shirk your job? Betty Is it my job if I don't feel I can do it? I don't know, only I love my baby so I want her to have every chance and I — I can't give it. 212 NOWADAYS Diana Dearest Betty, you're all upset. Betty I want to do what's right for baby and Diana And mother? V Mrs. Dawson Sh! Betty {Poignantly) I know. Who's to do it? /can't! Peter {To Betty) And what will you do? Betty I don't know. I'm all cried out trying to think. Diana {Comforting her) We can't think when we cry. NOWADAYS 213 Peter {Kindly) Betty, come now; you're not yourself. You're not going to give up like this. Betty {As she goes to his arms and he comforts her) I'm a miserable little bird whose wings are too weak to fly. Peter Can I talk with her alone, Diana? Diana Yes. In there. {Indicating back room,) Shall I? Peter No, let me. Come, Betty. Betty Don't think I mind Sammy's leaving me, Mrs. Daw- son. I don't. That's over. (Mrs. DaWson nods slowly in agreement as she stares before her.) It wouldn't be so hard at home now that he's gone, if only Peter We'll talk it all over, come. 214 NOWADAYS Betty Oh, Mrs. Dawson, if you were only there to help me and show me, I think I'd be happy and (Peter puts his arm about her and they go out into the back room, closing the door. There is a pause, Diana goes slowly to her mother, kneels beside her, taking her hand, looking at the baby and then at her mother. The room has darkened and the moonlight slowly grows brighter, flooding the place where they are,) Mrs. Dawson {Smiling) I couldn't be all I wanted in my work. Then Peter took you, as he should. And now my son's little baby is reaching out her hands. Maybe the child knows this is what I can do best. She's such a pretty baby, isn't she? Diana Dearest ! Mrs. Dawson {Calmly and with a sweet resignation) Yet I'm happy, Diana. Isn't it strange? I'm quiet inside all of a sudden. Maybe, after all, I'm more a mother than anything else. There's always some one to take care of the children. NOWADAYS 215 Diana {Looking at the child with a sense of mystery) To be a mother must be the greatest thing in the world. Mrs. Dawson For some women, yes. But I don't suppose there's any law in the world that can make every woman a good mother. We must all remember that in judging Betty. Diana {Mysteriously) Wouldn't it be terrible if you longed for a baby of your own and it didn't come to you? Mrs. Dawson {Looks at her and smiles sweetly as Diana leans close to her) I understand, dearest. (Peter re-enters,) Peter She's quieter now. Mrs. Dawson Perhaps it's all for the best. 2i6 NOWADAYS Diana {Rebelliously) I'd hate to think a child should be a chain to tie people together when they no longer love each other. Mrs. Dawson It isn't fair to the child. That's what I'm thinking of now — since Sammy is what he is. {Her face bright- ening.) Maybe Betty and I together could She'll go back with me? Peter {Reluctantly) That's all she seems to ask for. Mrs. Dawson Betty and I always got along. Diana You're going back? {There is a sharps commanding knock on the door.) Mrs. Dawson {Smiling) That's your father. Diana You're going back? NOWADAYS 217 Mrs. Dawson Not as a failure! I've helped you. {Looking at child) I can still be of use now. Diana Mother, I can't say anything. Mrs. Dawson {Calmly) There's nothing to say about life, children. It's all mixed up. Some of us are further along the road than others. Some of us must stay where we are. You and Peter are far ahead. It's your strength and not your weakness that is on fire. I shall hold out my hands to you both very often. Diana We shall feel your love as we look back. {The knock is repeated,) Mrs. Dawson Let your father in. Things will be different now. He'll be as glad I'm coming back as I am that you and Peter are going on. (Diana kisses her mother and goes slowly to the door. Peter has come down by Mrs. Dawson. She looks from the baby and then smiles up into his face,) 2i8 NOWADAYS She may be another Diana, Peter. That's worth work- ing for, eh? (Diana opens the door and Dawson stands there. He comes in after a moment.) Dawson You win, Belle. We're going to Paris. Mrs. Dawson {Smiling sweetly) You and I are going back home, Will. ( Dawson stands, silent. There is a faint light from the hallway outside, but the room is full of shadows. Mrs. Dawson, holding the help- less little baby in her arms, is flooded by the moonlight from the windows above.) [the curtain falls slowly] THE END "The plays are admirable; the conversations have the true style of human speech, and show first-rate economy ot words, every syllable advancing the plot. The little dramas are full of cerebration, auid I shall recommend them in my public lectures." — Prof. William L^on 'Phelps, Yale Unioersity, GEORGE MIDDLETON'S EMBERS And The Failures, The Gargoyle, In His House, Madonna, and The Man Masterful. $1,35 net; by mail, $1*44 ** All are clear concise dynamic, suggesting drama rather than revealing it, the language simple, the structure excellent, the characterization vivid. " — Chicago Record Herald. ____________^__ EMBERS: "This is a tender and inspiring piece, somewhat akin to Gilbert's " Sweethearts " and Howard 's " Old Love Letters." — Nation. *' By far the best , , . the interpretation of American middle age is certainly searching and realistic." — Living Jlge. THE FAILURES; "It is written with a tensity of submerged move- ment." — Springfield Republican. "Is somberly true, direct and vital." — Chicago Evening Post. "Full of genuine insight." — Archibald Henderson in North Carolina Review. 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Sugges- tive and illuminating. . . . Definite and effective." Boston Transcript : " Briefly and succinctly Mr. Hamilton outlines the four leading types ... at every moment of his discussion he has a firm grasp upon every phase of the subject." THE GERMAN DRAMA OF THE NINETEENTH CENTURY By Georg Witkowski. Translated by Prof. L. E. Horning. i2mo. $1.00. Kleist, Grillparzer, Hebbel, Ludwig, Wildenbruch, Sudermann, Haupt- mann, and minor dramatists receive attention. New York Times Review : " The translation of this brief, clear, and logical account was an extremely happy idea. Nothing at the same time so comprehensive and terse has appeared on the subject, and it is a subject of increasing interest to the English-speaking public." HENRY HOLT AND COMPANY PUBLISHERS NEW YORK SIXT H EDITION, ENLARGED AND WITH PORTRAITS HALE'S DRAMATISTS OF TO-DAY Rostand, Hauptmann, Sudermann, PiNERO, Shaw, Phillips, Maeterlinck By Prof. Edward Everett Hale, Jr., of Union College. With gilt top, $1.50 net; by mail, $1.60. Since this work first appeared in 1905, Maeterlinck's Sister Beatrice, The Blue Bird and Mary Magdalene, Rostand's Chantecler and Pinero's Mid-Channel and The Thunder- BOLT— among the notable plays by some of Dr. Hale's drama- tists—have been acted here. Discussions of them are added to this new edition, as are considerations of Bernard Shaw's and Stephen Phillips' latest plays. The author's papers on Hauptmann and Sudermann, with slight additions, with his "Note on Standards of Criticism," "Our Idea of Tragedy," and an appendix of all the plays of each author, with dates of their first performance or publication, complete the volume. Bookman: " He writes in a pleasant, free-and-easy way. . . . He accepts things chiefly at their face value, but he describes them so ac- curatelj*- and agreeably that he recalls vividly to mind the plays we have seen and the pleasure we have found in them." New York Evening Post : " It is not often nowadays that a theatrical book can be met with so free from gush and mere eulogy, or so weighted by common sense ... an excellent chronological appendix and full index . . . uncommonly useful for reference." Dial: " Noteworthy example of literary criticism in one of the most interesting of literary fields. . . . Provides a varied menu of the most interesting character. . . . Prof. Hale establishes confidential relations with the reader from the start. . . . Very definite opinions, clearly reasoned and amply fortified by example. . . . Well worth reading a second time." New York Tribune: "Both instructive and entertaining." Brooklyn Eagle: "A dramatic critic who is not just 'busting' him- self with Titanic intellectualities, but who is a readable dramatic critic. . , . Mr. Hale is a modest and sensible, as well as an acute and sound critic. . . . Most people will be surprised and delighted with Mr. Hale's simplicity, perspicuity and ingenuousness." The Theatre: "A pleasing lightness of touch. . . . Very read- able book." HENRY HOLT AND COMPANY PUBLISHERS NEW YORK