THREE IN WHITE 
 
 A Morality Play in One Act 
 
 BY 
 
 HAROLD GODDARD 
 
THREE IN WHITE 
 
 A Morality Play in One Act 
 
 BY 
 
 HAROLD GODDARD 
 
 COPYRIGHT. 1914 
 By HAROLD C. GODDARD 
 
 This play must not be produced without the consent of the author, 
 who may be addressed at Swarthmore, Pennsylvania 
 
'T^^ r%^ 
 
 -:a 
 
 <k< 
 
 fo.^0 
 
 FEB 2 I9I5^ CID 39560 
 
 TMPqp-nncnc 
 
PERSONS* 
 
 A Figure in Black 
 A Suffragist 
 A Suffragette 
 A Philosopher 
 A Painted 
 
 Persons of the Play Within the Play. 
 
 A Mill Girl 
 
 A Mother 
 
 A Lady of Leisure 
 
 first seen as Three Unborn Souls 
 
 Monotony 
 
 
 Little Odd Jobs 
 Baking 
 
 
 Bad Air 
 
 Purse 
 
 Little Fatigue 
 
 Dirty Dishes 
 
 Fashion 
 
 Dance Hall 
 
 
 Sickness 
 
 Bridge 
 
 Cheap Theatre 
 
 Mumps 
 
 Silly Novel 
 
 Capital 
 
 
 Measles 
 
 Inane Play 
 
 
 
 Whooping Cough 
 Chicken Pox 
 
 Dinner 
 
 Tom 
 
 
 Senseless Shopping 
 
 Blanche 
 
 
 Tummy Ache 
 
 Tango 
 
 Johnnie 
 
 
 Ordinary Cold 
 
 Charity 
 
 Alice 
 
 
 Newspaper 
 
 Literary Babble 
 
 Dust 
 
 
 Lecture 
 
 Vacation 
 
 Broom 
 
 
 Piano 
 
 Motor Car 
 
 Front Door 
 
 Bell 
 
 Book 
 
 Boredom 
 
 Back Door 
 
 Bell 
 
 Another Book 
 
 
 Ironing 
 
 
 Servant Problem 
 
 Gnomes 
 
 Mending 
 
 
 
 
 *See "Foreword" as to the number of actors necessary for the 
 production of this play. 
 
 The parts of the Figure in Black and the Suffragist are to be 
 taken by the same actress. 
 
 See note at the foot of page 7 with regard to the Suffragette. 
 
THE SCENE 
 
 No scenery is necessary for the presentation of 
 this play. If any is used, it should represent an open 
 country place with trees and shrubbery at the back. 
 
FOREWORD 
 
 The following play may be presented in several 
 different ways, according to the size of the stage, the 
 number of actors, and other resources available. 
 
 (1) The play within the play may be presented, 
 as the text suggests, with real actors for all the parts 
 (most of them children), in which case each one, by cos- 
 tume or by some symbolic object that he carries, makes 
 clear to the eye the idea which he represents, and ac- 
 tually speaks the lines assigned to him. This is dis- 
 tinctly the most desirable arrangement. 
 
 (2) The play within the play may be presented as 
 under (1) except that The Figure in Black speaks the 
 lines of the other characters. 
 
 (3) The play within the play may be presented 
 as under (1) except that a Voice behind the scene 
 speaks the lines of the actors in that play. 
 
 (4) The play within the play may be presented 
 as a puppet show, in which case symbolic objects (as, 
 e. g., a Broom, a Bell, a Fashion Plate, a Playing 
 Card), or in a few instances figures stuffed to represent 
 human beings (as, e. g., Cheap Theatre, Boredom, Mon- 
 otony) take the place of real actors, The Figure in 
 Black, the stage manager of the puppet show, speak- 
 ing the lines and tying the puppets to the Mill Girl, the 
 Mother, and the Lady of Leisure (all three of which 
 parts, in any arrangement of the play, are to be taken 
 by real actresses). 
 
 (5) The play within the play may be presented as 
 under (4) except that a Voice behind the scene, instead 
 of The Figure in Black, speaks the lines of the pup- 
 pets. 
 
b THREE IN WHITE 
 
 (6) The play within the play may be presented as 
 a puppet show but in certain eases real actors may be 
 the puppets (assuming a certain stiffness of attitude 
 and gesture). If this arrangement is the one selected, 
 the puppets in question may either recite their own 
 lines or have them recited for them by The Figure in 
 Black or the Voice. The following are the puppets which 
 real actors should represent: Monotony, Bad Air, Dance 
 Hall, Cheap Theatre, Capital, Tom, Blanche, Johnnie, 
 Alice, Sickness, Boredom, Servant Problem (and per- 
 haps Charity and Literary Babble). 
 
 It is obvious also that the scale of the production 
 may be reduced by cutting out from the second and 
 third parts of the play within the play certain of the 
 characters. Such omissions should be made judi- 
 ciously, however, so as not seriously to impair the real 
 significance of the drama. 
 
Three In White 
 
 [Enter a Suffragist and a Suffragette* Each car- 
 ries a banner: "Votes for Women." They are arguing 
 warmly. 
 
 The Suffragist is a bright-faced young woman, 
 graceful and eager in manner, simple in her attire. The 
 Suffragette on the contrary is awkward and unattrac- 
 tive. Her tone is petulant, her movements and gestures 
 nervous and impatient, her dress eccentric. She carries, 
 in addition to her banner, an immense roll of paper 
 much larger than herself, while over her arm is slung a 
 bag bulging with yellow hand-bills.] 
 
 SUFFRAGIST 
 
 All three will be the better for it then : 
 The children, and the women, and the men. 
 
 SUFFRAGETTE 
 
 Oh botheration on your dull inanity 
 About ' ' the life and unlif t of humanity ! ' ' 
 The Vote! It is the Vote we want. I wish you 
 Would stick more closely to the central issue. 
 
 SUFFRAGIST 
 
 True ; 'tis the vote we want. Why do we want it ! 
 
 SUFFRAGETTE 
 
 It is our right, and so the men must grant it. 
 
 SUFFRAGIST 
 
 Just there I enter strenuous objection ; 
 We want it as a step toward the perfection 
 
 *These terms are used merely in the most general way to indi- 
 cate, the first a woman with the true, the second a woman with a 
 false, attitude toward suffrage. If in the case of any particular 
 audience the term "Suffragette" is likely to give offence or carry an 
 implication other than the one just suggested, the terms "First 
 Suffragist" and "Second Suffragist" may be substituted for those 
 in the text. 
 
8 THREE IN WHITE 
 
 Of the world's life. We want it as a key 
 
 To unlock woman's prison, and set free 
 
 Her spirit on new errands of creation 
 
 Which, working through her children, to the nation 
 
 Shall bring a day of new emancipation. 
 
 SUFFRAGETTE 
 
 I really think you're talking through your hat. 
 I say ' ' the vote ' ' and let it go at that. 
 
 SUFFRAGIST 
 
 You say "the Vote," the Vote for its own sake. 
 I say "the vote" for what the vote will make. 
 Look at the words on your own banner ! Note : 
 The vote for woman, not woman for the vote. 
 
 SUFFRAGETTE 
 
 Talk on! Meanwhile I'll sow seed from this bag; 
 
 [She scatters a handfull of yellow bills.] 
 Seek signatures for this ; and wave my flag. 
 
 SUFFRAGIST 
 
 But banners and petitions and statistics 
 Are all in vain if we are "suffrage mystics" 
 And fool ourselves by worshipping a word. 
 As means these things are good, as ends absurd. 
 
 SUFFRAGETTE 
 
 Your fine distinctions really make me dizzy. 
 
 I 'm glad to say my hands and feet are busy 
 
 With things to do. I have no time to ponder . . . 
 
 Look! do you see those two men coming yonder? 
 
 'T would be a thousand pities if I lost 'em. 
 
 I '11 step behind a tree and then accost 'em. 
 
 [The Suffragette darts out. The Suffragist pauses, 
 looking off in the direction from which the two men are 
 coming. After a moment of meditation a sudden 
 thought strikes her, and with a smile she goes quietly 
 
 off- " 
 
 A Painter and a Philosopher stroll in. 
 
THREE IN WHITE 9 
 
 The Painter is a sentimental creature with high- 
 pitched voice, his pale brow encircled with clusters of 
 yelloiv ringlets. He is foppishly dressed. Under his 
 right arm he carries an easel and fresh canvas; while 
 on the thumb of his other hand is a palette daubed with 
 colors that flash brilliantly in the air as he gesticu- 
 lates. 
 
 The Philosopher is in every way a foil to his 
 younger companion; soberly dressed, grave, thoughtful, 
 quiet, with gentle voice and kindly smile.] 
 
 PAINTER 
 
 The Woman Question! niy friend, how could you? 
 
 I came out to enjoy the air. So would you, 
 
 In Christian charity, kindly desist 
 
 From raising questions that do not exist? 
 
 The Woman Question ! Oh ! The Woman Question ! 
 
 Half of it's gush, the other half pure fustian! 
 
 PHILOSOPHER 
 
 I though so once. I think so now no longer ; 
 
 Not a month passes but my faith grows stronger . . . 
 
 PAINTER 
 
 You ! No ! Well, well, you do keep in the swim. 
 You don't say you believe in votes for worn — . . . 
 
 PHILOSOPHER 
 
 I do not say I do. But I will say 
 
 I find myself drawn forcibly that way. 
 
 The woman question, though, I'd have you note, 
 
 Involves far deeper matters than the vote: 
 
 Problems profound in manifold variety 
 
 Of woman 's place and function in society. 
 
 He only who perceives these things aright 
 
 Can view the suffrage question in true light. 
 
 The franchise is a means and not an end ! 
 
 Yet many a suffragist seems to contend, 
 
 If only with a ballot you'd adorn her 
 
 The golden age would walk around the corner. 
 
10 THREE IN WHITE 
 
 PAINTER 
 
 Oh, cut it out ! I came to get the air ! 
 
 Let me wind up the matter with this prayer : 
 
 The Lord deliver me from taxes, debts, 
 
 Mad dog-s, bad eggs, sour cream, and suffragettes ! 
 
 [Enter the Suffragette. Fountain pen in hand, she 
 rushes up to the Painter and the Philosopher for their 
 signatures.] 
 
 SUFFRAGETTE 
 
 Ah! Votes for Women! Here! It is my mission 
 To gather names to lengthen this petition. 
 
 PAINTER 
 
 [Aside.] She's not the kind that uses bricks and arson; 
 She seems as harmless as a country parson. 
 
 SUFFRAGETTE 
 
 My stint is just a rod a day, remember. 
 
 I hope to reach nine miles before December. 
 
 PAINTER 
 
 The larger the handwriting then the better? 
 
 PHILOSOPHER 
 
 I felt quite well disposed until I met her. 
 In fact was waxing quite enthusiastic; 
 But now I pause. 
 
 PAINTER 
 
 And now I grow sarcastic. 
 
 PHILOSOPHER 
 
 Why do you want the vote? 
 
 SUFFRAGETTE 
 
 It is our right. 
 Women are just as good as men are ! 
 
 PAINTER 
 
 In fact superior in many features. 
 
 I always have adored the charming creatures. 
 
 Quite ! 
 
THREE IN WHITE 11 
 
 SUFFRAGETTE 
 
 Benighted man ! 
 
 PAINTER 
 
 [To the Philosopher.] She speaks to you. 
 
 PHILOSOPHER 
 
 Sad fact, 
 The concrete contradicteth the abstract. 
 
 [A mysterious Figure in Black has entered, un- 
 noticed, and taken a position at the back. The Figure 
 noiv comes forward.] 
 
 THE FIGURE IN BLACK 
 
 Good friends ! Here 's silence and seclusion. Say, 
 Can you spare time to watch a little play? 
 This place, no doubt, you think a very strange one ; 
 But if you'll sit, I think I can arrange one. 
 
 PAINTER 
 
 The ground is damp. 
 
 PHILOSOPHER 
 
 My joints are grown rheumatic. 
 
 SUFFRAGETTE 
 
 Go on ! I 'm in for anything dramatic. 
 
 [The Painter, the Philosopher, and the Suffra- 
 gette seat themselves at one side and watch what fol- 
 lows with deep interest, commenting here and there 
 with characteristic gesture or conversation in dumb 
 show. 
 
 The Figure in Black, both arms outstretched, 
 makes a series of slow* passes through the air with a 
 wand taken from beneath its mantle.] 
 
 THE FIGURE IN BLACK 
 
 Watch me. All living things this waving wand 
 Has power to summon over sea and land. 
 [Three veiled figures in white flutter in.] 
 
12 THEEE IN WHITE 
 
 THE PIGUEE IN BLACK 
 
 These three in white are souls before their birth. 
 I touch their eyes. Outspread they see the earth. 
 
 [The three figures with hands uplifted gaze out 
 into vacancy as if they saw before them some wonder- 
 ful vision.'] 
 
 THE FIKST FIGUEE IN WHITE 
 
 Oh! 
 
 THE SECOND FIGUEE IN WHITE 
 
 Beautiful ! 
 
 THE THIED FIGUEE IN WHITE 
 
 How beautiful ! 
 [They draw lots from an urn which the Figure in 
 Black presents.] 
 
 THE FIGUEE IN BLACK 
 
 All three 
 Have drawn America, "land of the free." 
 
 [The Figure motions them off. During the follow- 
 ing, at the waving of the wand, a number of Gnomes 
 bring in the properties for the next scene.] 
 
 THE FIGUEE IN BLACK 
 
 They're now in the bright world they saw below them. 
 
 Years pass. I'll warrant that you hardly know them. 
 
 In fact, I wonder if you'll think it's fair: 
 
 For one is married to a millionaire; 
 
 And one is poor ; and one is — well, not rich. 
 
 You'll have no trouble telling which is which. 
 
 [The first of the three figures, now a pinched, pre- 
 maturely-old Mill Girl, comes in with her dinner-pail, 
 and standing at a table (at the right) begins a monoton- 
 ous task of folding cloth. The work is of such a mechan- 
 ical nature that her mind has no part in it; her fingers 
 fly ivith automatic swiftness.] 
 
 THE FIGUEE IN BLACK 
 
 This is a mill. She is an employee. 
 The nature of her work you plainly see. 
 It did not take her long to grow proficient. 
 
THREE IN WHITE 13 
 
 Her father's wages did not prove sufficient 
 To feed the family. That 's why she came. 
 They took her out of school. (It was a shame.) 
 Note these new comers. Mark each one by name. 
 
 [Monotony, Bad Air, Dance Hall and Cheap Thea- 
 tre come in. The first is a gaunt blind figure dressed in 
 black. Bad Air, his wife, is a coughing, chalky-faced 
 woman. They have a child, who seems almost inanimate, 
 with them. Dance Hall and Cheap Theatre are a pair of 
 flashily dressed youth, much resembling each other. 
 They wear bright checked suits, vivid ties (one orange 
 and one red), and straw hats far back on their heads; 
 they are smoking cigarettes. One carries a large bunch 
 of red roses; the other holds up a pair of theatre tick- 
 ets.] 
 
 MONOTONY 
 
 We are the ruling spirits of this place. 
 Look at my eyes. Kindly inspect my face. 
 See me beat time. I am Monotony. 
 And I beat those who don't keep time with me. 
 
 [He stands behind the Mill Girl. She folds to the 
 rhythm of his beating. She does not see him, but she 
 shudders involuntarily.] 
 
 BAD AIR 
 
 I am Bad Air (sister of Lack of Light). 
 
 [She blows in the Mill Girl's face. The latter 
 coughs hollowly but does not see her.] 
 
 BAD AIR 
 
 My business is to paint pink faces white. 
 This is our youngest child . . . 
 
 MONOTONY 
 
 Little Fatigue. 
 [They both point to their child, who has collapsed 
 in a faint at their feet. Monotony stirs the little bun- 
 dle of rags with his feet. He and his wife speak of her 
 with a kind of ghoulish gusto.] 
 
14 THEEE IN WHITE 
 
 BAD AIR 
 
 Our others joined . . . 
 
 MONOTONY 
 
 . . . the Cemetery League! 
 
 BAD AIR 
 
 Except one girl at home . . . 
 
 MONOTONY 
 
 . . . her name's Consumption. 
 
 BAD AIR 
 
 To come with us . . . 
 
 MONOTONY 
 
 . . . she didn't have the gumption. 
 [Monotony continues beating time; Bad Air goes 
 on blowing in the Mill Girl's face.] 
 
 DANCE HALL 
 
 My name is Dance Hall. 
 
 CHEAP THEATRE 
 
 I am called Cheap Theatre. 
 
 BOTH 
 
 Here at the factory door we've come to meet her. 
 We're rivals. [They hug each other affectionately.] 
 Just at six you'll hear the whistle. 
 
 DANCE HALL 
 
 [Showing his roses.] I think that this will fetch her. 
 
 CHEAP THEATRE 
 
 [Showing his theatre tickets.] I think this '11. 
 
 DANCE HALL 
 
 Come here Monotony. 
 
 CHEAP THEATRE 
 
 Come here Bad Air. 
 
 DANCE HALL 
 
 Give her the proper tip. 
 
THEEE IN WHITE 15 
 
 CHEAP THEATRE 
 
 I'll make it square. 
 
 DANCE HALL 
 
 When tliey are tired they are always easy. 
 
 CHEAP THEATRE 
 
 Say! don't you think this tie of mine is breezy? 
 
 [Capital, a big-paunched, coarse type of business 
 man, enters. He comes over and sits down near the Mill 
 Girl, tipping lazily back in his chair, his legs up on the 
 table where she is working. He puffs at a cigar, playing 
 with his massive watch-chain and patting his stomach 
 contentedly from time to time.] 
 
 CAPITAL 
 
 My name is Capital. Don't think, I pray, 
 I'm here. I'm really many miles away. 
 My income is the profit from this factory — 
 A mode of life extremely satisfactory. 
 I have an arm that reaches across space. 
 
 [He looks the other way.] 
 My eyes, meanwhile, stay home, inside my face. 
 Hence, you perceive (a fact to feel no shame for) — 
 What I don't see, I cannot be to blame for. 
 Their interest in their work is most intent. 
 I take great interest also : twelve per cent. 
 
 [He has reached across and taken a heavy money 
 bag from under the table. He now unties it and thrust- 
 ing in his hand lets it wallow in the gold, listening to 
 the pleasant clink of one coin on another. 
 
 Though the Figure in Black now shifts the center 
 of interest of the play, all through what follows Capi- 
 tal still sits there puffing his cigar, while Monotony goes 
 on beating, beating, beating, and the Mill Girl folding, 
 folding, folding. 
 
 As the Figure in Black waves the wand, the 
 Gnomes, as before, bring in properties, after which the 
 
16 THREE IN WHITE 
 
 Second Figure in White, now a careworn Mother, 
 comes in and seats herself at a table near the center. 
 She sews. There is a cradle near her which she rocks 
 with her foot.] 
 
 THE FIGURE IN BLACK 
 
 This place is Home. This woman is a Mother. 
 She has four children. This one [Indicating the cra- 
 dle.] is another. 
 If you watch here, as one by one, they come, 
 You'll see the things that tie her to her home. 
 
 [Each of the various figures that now enter, after 
 making its speech, ties one end of a string to the Mother 
 and keeping the other end in its hand, goes and sits 
 down — till the Mother finally looks like a fly caught in 
 a spider's web.] 
 
 A LITTLE BOY 
 
 I 'm Tom ! 
 
 A LITTLE GIRL 
 
 I 'm Blanche ! 
 
 ANOTHER LITTLE BOY 
 
 I'm Johnnie! 
 
 ANOTHER LITTLE GIBL 
 
 I am Alice! 
 [They smother their mother with kisses.] 
 
 ALL FOUR 
 
 She says we make home brighter than a palace. 
 But sometimes, when we worry her, she says 
 We are her pack of little nuisances. 
 
 A LITTLE GIRL 
 
 [Her face and hands are ashy and she shakes a 
 cloud of dust from her clothes and hair.] 
 I'm Dust, and I sit down in every room. 
 
 A LITTLE BOY WITH A BROOM 
 
 And I come chasing after. I am Broom. 
 
 A LITTLE BOY WITH A BELL 
 
 I am Front Door Bell. I am always ringing. 
 
THREE IN WHITE 17 
 
 ANOTHER LITTLE BOY WITH A BELL 
 
 I am Back Door Bell. I am always bringing 
 Her from her work. 
 
 A LITTLE GIRL WITH A HUGE FLATIRON 
 
 I'm Ironing. 
 
 A LITTLE GIRL DRESSED LIKE A SPOOL OF THREAD 
 
 [Only her head, feet and arms protrude from the 
 spool. Her hat is a strawberry emery. She carries in 
 one hand a big thimble, in the other a huge needle.] 
 
 I'm Mending. 
 
 A LITTLE BOY 
 
 [His arms are loaded with a strange assortment 
 of objects: some preserving jars, a watering pot, a 
 broken picture, etc.; while behind him, like the tail of a 
 kite, trails a seemingly endless string to which other 
 objects of increasingly smaller size are attached.] 
 I'm Little Odd Jobs. I am never ending. 
 
 A LITTLE BOY DRESSED LIKE A COOK 
 
 [He is all in white and carries a huge loaf of 
 bread; the mouths of Tom, Blanche, Johnnie, and Alice 
 water at the sight.] 
 I'm Baking. (You observe these children's wishes!) 
 
 A LITTLE GIRL WITH DISH PAN AND DISH MOP 
 
 And I'm those Everlasting Dirty Dishes. 
 
 A PALE YOUTH WITH A BIG BASKET 
 
 I'm Sickness. I have something in this basket 
 Which I'll exhibit to yon if you ask it. 
 
 [Out of the basket come six little children; the first 
 with bandaged neck, the next with very red face, the 
 next coughing violently, the next with face broken out, 
 
18 THKEE IN WHITE 
 
 the next holding on to its stomach, the last blowing his 
 nose and sneezing.]* 
 
 FIRST CHILD 
 
 I'm Mumps. 
 
 SECOND CHILD 
 
 I'm Measles. 
 
 THIRD CHILD 
 
 I am Whooping Cough. 
 
 FOURTH CHILD 
 
 I'm Chicken Pox. 
 
 FIFTH CHILD 
 
 And I — you needn't scoff — 
 Am "Tummy Ache." I'm little but I'm bold. 
 
 SIXTH CHILD 
 
 And I am just an Ordinary Cold. 
 
 [Ordinary Cold goes over and blows in the baby's 
 face. 
 
 The next five Figures, instead of helping tie the 
 Mother up, suspend the objects which they carry far out 
 of her reach at the ends of five long fishing poles. The 
 first carries a newspaper, the second a large placard, 
 the third a miniature piano, the fourth and fifth, 
 books.] 
 
 FIRST CHILD 
 
 I am the Paper she has never time for. 
 
 SECOND CHILD 
 
 And I'm the Lecture that there is no dime for. 
 
 *If this arrangement is too difficult, dolls appropriately "made 
 up" may be substituted for the children, in which case Sickness will 
 speak their lines for them. Or, a still different way, Sickness may 
 carry a medicine-case instead of a basket and the children's diseases 
 may be represented by bottles of medicine, pills, bandages, plasters, 
 etc., as is appropriate. In this case the couplet will read : 
 I'm Sickness. I have things inside this case, 
 That frequently are called for in this place. 
 
THREE IN WHITE 19 
 
 THIRD CHILD 
 
 I'm the Piano that they hoped to buy. 
 I'm Book she never reads. 
 
 FOURTH CHILD 
 
 And so am I. 
 
 A LITTLE NEGRESS 
 
 I am the Servant Problem. In all ages 
 I have vexed saints and sinners, fools and sages. 
 But I'm barred out here — by the father's wages; 
 That, and the cost of living. 
 
 THE FIGURE IN BLACK 
 
 Therefore, maidie, 
 You'd better come and plague this other lady. 
 
 [The reference is to the third figure in white, who, 
 now transformed to a pampered Society Lady, has 
 come in and sat down at a dressing table at the left. 
 She gazes in a mirror, rearranging a lock of hair. (The 
 Gnomes, as before, have brought in the properties.) 
 Though the center of interest now shifts to her, the 
 Mill Girl still continues her folding, on the right, and 
 the Mother her sewing, in the center.'] 
 
 THE FIGURE IN BLACK 
 
 This is a Lady. And her name is Leisure. 
 
 You think she's free! No! She's the slave of pleasure. 
 
 Her residence (in winter) is the city. 
 
 She has no children. Isn't it a pity! 
 
 But other things she has in multiplicity. 
 
 For instance, him: Domestic Infelicity. 
 
 [The Figure in Black points over toward Capital, 
 the Lady's husband. In the meantime, a child with a 
 huge purse comes in and going over to Capital fills the 
 purse with coins from his money bag.] 
 
20 THREE IN WHITE 
 
 THE CHILD WITH THE PURSE 
 
 I am her Purse. You notice where I come from. 
 Observe my weight. Inside me there is some sum. 
 
 [The Child with the Purse, and each of her suc- 
 cessors, goes over and ties herself to the Lady, just as 
 did the children in the previous case. . . . A group 
 of four children now come in, each one hidden, all but 
 head and feet, behind the object that it carries; the 
 first behind a fashion plate, the second behind a play- 
 ing card, the third behind a paper-covered novel, the 
 fourth behind a theatrical poster.] 
 
 FIRST LITTLE GIRL 
 
 Notice my stylish gown. My name is Fashion. 
 I am the idle woman's ruling passion. 
 Her time's her own. She thinks that she is free. 
 But she is fooled. She has to follow me. 
 
 FIRST LITTLE BOY 
 
 I'm Bridge. She courts me with a deep emotion. 
 The hours she gives to me would fill an ocean. 
 
 SECOND LITTLE GIRL 
 
 I'm Silly Novel. 
 
 SECOND LITTLE BOY 
 
 I am Inane Play. 
 
 SECOND LITTLE GIRL AND SECOND LITTLE BOY 
 
 We often help her while the hours away. 
 
 A LITTLE BOY DRESSED AS A BUTLER 
 
 [He brings in a turkey on a platter.] 
 Of all her friends I count myself the winner. 
 I'm always in her mind. My name is Dinner. 
 
 A LITTLE GIRL 
 
 [Hidden all but head and feet behind a full page 
 newspaper advertisement.] 
 
 You think she's lazy? I can keep her hopping. 
 My name is Everlasting Senseless Shopping. 
 
THEEE IN WHITE 21 
 
 A LITTLE GIRL WHO DANCES IN IN A BALL GOWN 
 
 But it's my kind of "hop" that most she fancies. 
 I'm Tango — and the other Modern Dances. 
 
 A LITTLE GIRL IN BLACK 
 
 [Her eyes are downcast, her hands folded, her 
 manner very demure.'] 
 I'm Charity. I look good. But I'm bad. 
 She took me up because I was the fad. 
 
 A GUSHING LITTLE GIRL 
 
 [Her voice and manner are affected; her pronun- 
 ciation absurdly over-precise.'] 
 My name is Shallow Literary Babble. 
 I help supply the idle social gabble. 
 I frequent clubs and musical soirees. 
 My culture constantly elicits praise. 
 They say, though, that I cannot hold a candle 
 To my friend Gossip and her sister Scandal. 
 
 A LITTLE BOY 
 
 [Hidden, all but head and feet, behind a railroad 
 time-table; and carrying a suit-case pasted over with 
 labels.] 
 
 I beg you don't mistake me for a drummer. 
 I guide this lady to the shore in summer, 
 For her — a very strenuous occupation. 
 You recognize me, doubtless, as — Vacation. 
 
 A LITTLE BOY DRESSED AS A CHAUFFEUR 
 
 [He drags after him by a string a toy motor-car.] 
 My name is Motor Car. I travel. Where, 
 If I go rapidly, she doesn't care. 
 And so the more she rides around, the more 
 She finds herself just where she was before. 
 
 [A gaunt blind figure in black now enters, an ex- 
 act replica of Monotony. He takes up a position behind 
 the Lady corresponding to that of Monotony behind the 
 Mill Girl] 
 
22 THREE IN WHITE 
 
 THE BLIND FIGURE 
 
 You notice my resemblance to another. 
 There is a reason : I am his twin brother. 
 I 'm Boredom, and I follow close behind her. 
 Whate'er she does to whisper and remind her 
 She'll soon be sick of it. So, endlessly, 
 She tries to find someone to murder me. 
 But let 'em come, whomever she may send ; 
 I rule supreme ; I '11 get her in the end. 
 
 [The Lady shudders involuntarily. 
 
 The Figure in Black goes over to the Painter, the 
 Philosopher and the Suffragette; then, turning, points 
 successively to the Mill Girl, to the Mother, to the 
 Lady.] 
 
 THE FIGURE IN BLACK 
 
 Look at the three ; and can you longer quarrel 
 Over the meaning or escape the moral? — 
 A slave to Capital, to Home, to Pleasure. 
 We need to scatter with more even measure 
 Our Drudgery, our Motherhood, our Leisure. 
 And with this observation ends the play. 
 Is there no Woman Question % Look ! and say ! 
 
 [The play over, the Suffragette immediately 
 rushes to make converts to her cause.] 
 
 SUFFRAGETTE 
 
 The Ballot ! Let them vote and all their troubles 
 
 Will vanish instantly like bursting bubbles. 
 
 The Vote! I'll tell them so. Just watch and see ! 
 
 PHILOSOPHER 
 
 The Vote ! Then the Millenium! Q. E. D. 
 
 [The Painter, meanwhile, is going into a romantic 
 ecstasy in front of the Mother. He places his canvas 
 cm his easel and prepares to paint her picture. Th& 
 Philosopher, watching him, speaks in an undertone.] 
 
THREE IN WHITE 23 
 
 PAINTER 
 
 Oh for a hundred hands 
 
 PHILOSOPHER 
 
 and fifty easels? 
 
 PAINTER 
 
 To paint a portrait 
 
 PHILOSOPHER 
 
 of the mumps and measles ? 
 
 PAINTER 
 
 That might in some degree express the [Hesitating 
 for a word.] 
 
 PHILOSOPHER 
 
 frantic? 
 
 PAINTER 
 
 Emotions that possess my breast romantic! 
 Here would I picture " Motherhood"; sweet peace 
 Upon her brow ; her brood about her knees. 
 I 'd group them in a meadow. The blue sky ; 
 Flowers around ; a brook that babbles by. 
 
 PHILOSOPHER 
 
 Your picture, sir, would be a thumping lie! 
 
 [The Painter now approaches the Mill Girl.] 
 
 PAINTER 
 
 Here is a theme, too. This time not the wife. 
 But woman mingling in the world's great life. 
 I feel the vision warming all my blood — 
 Behold! "Emancipated Womanhood"! 
 
 CAPITALIST 
 
 Of such great paintings I should hate to rob 
 The world. And yet I have a little job. . . . 
 Frankly . . . I'd like to use your reputation 
 To bring my family before the nation. 
 
24 THREE IN WHITE 
 
 I note it 's quite the thing for men of ' ' salary ' ' 
 
 To found a college or endow a gallery. 
 
 So, when she shuffles off tins mortal coil, 
 
 I'd like to have my wife embalmed in — oil. 
 
 Then, if I find you execute her duly 
 
 I '11 let you try your hand next on yours truly. 
 
 So let them wait. 
 
 To make the matter plainer 
 
 Here is five thousand as a small retainer. 
 
 [The Painter pockets the retainer apparently with 
 much pleasure, and sitting doivn before his easel be- 
 gins painting the Lady.] 
 
 PHILOSOPHER 
 
 [To the Suffragette, who has been trying in vain 
 to make converts to "the vote/'] 
 How do you find 'em? Is "the vote" progressing? 
 
 SUFFRAGETTE 
 
 Their lack of interest is most depressing. 
 
 [She points to the Mill Girl, the Mother, and the 
 Lady in succession.] 
 
 She says all she wants is a breath of air, 
 And then, a nice young man to marry her. 
 And she, to go to bed and feel that maybe 
 She won't be waked up by a squalling baby. 
 She stopped her ears up so; wasn't that funny? 
 
 PHILOSOPHER 
 
 No vote for her. What she wants is more money. 
 Her friend, moreover, Mrs. Fourteen Courses 
 Is high up in the Anti-Suffrage forces. 
 
 SUFFRAGETTE 
 
 It's sad. I'd hoped to find at least one zealot. 
 
 PAINTER 
 
 It's plain. The Women do not want the ballot. 
 
THREE IN WHITE 25 
 
 PHILOSOPHEE 
 
 [Indignant at the Painter's remark, pointing, with 
 deep feeling, to the three figures.] 
 
 Great Christopher ! What chance, pray, have they got 
 To know whether they want the vote or not? 
 
 [Turning, and speaking with more moderation to 
 the Figure in Black.'] 
 Yet can you call this a fair presentation 
 Of woman's true position in our nation? 
 Surely not every woman is a slave ! 
 Your play is guilty of omissions grave. 
 Here is the Toiler. Where's the Happy Worker 
 Of which the land boasts many? Here's the Shirker 
 And Parasite. In fairness why not tell 
 Of those with wealth who still can use wealth well — 
 And spend their leisure for the good of others ? 
 Here is the Slave of Home. Where are the mothers 
 Who have, after the welcome household work is done, 
 Some hours in which to call their souls their own ? 
 
 THE FIGURE IN BLACK 
 
 True ! that there are such everyone agrees, 
 
 But — where there's one of those there's ten of these. 
 
 [The Philosopher, pausing, considers this; at last, 
 reluctantly, he is compelled to bow assent.] 
 
 THE FIGURE IN BLACK 
 
 And there the hope lies to take courage from ! 
 What the few are the many might become! 
 
 PHILOSOPHER 
 
 And shall become! 
 
 [Seizing the Suffragette's banner, he points to the 
 words "Votes for Women."] 
 
 Words that, alone, are vanity, 
 Lit by these larger problems of humanity 
 Become the emblem of a mighty cause, 
 
26 THREE IN WHITE 
 
 And this one of its flags. Let us not pause, 
 But in the name of Freedom hit the knavery 
 That is the root and sanction of this slavery ; 
 Our watchwords two : Intelligence and Bravery! 
 Come on ! 
 
 [A new light has dawned in the eyes of the Suffra- 
 gette. Her face grows suddenly beautiful; her move- 
 ments graceful. All her harshness and awkwardness 
 drop from her as by a miracle. Casting aside her peti- 
 tion, she comes over and takes her place by the Philos- 
 opher under the flag, "Votes for Women." The Painter 
 shakes his head, laughs cynically, and whispers to the 
 Capitalist. The Figure in Black, throwing back the 
 hood that until now has half concealed the face be- 
 neath it, smiles mysteriously. The Suffragette per- 
 ceiving a resemblance to another face, stands back in 
 
 wonder, gazing.] 
 
 [curtain] 
 
016 103 396