-^ K*Jr The Book of Words of St. Clair County Pageant by THOMAS WOOD ST^^|y^J) J^ JAI^ES hi Com})iemoratio7i of the Removal of the County Seat to Belleville, Septem- ber, 19 U BELLEVILLE. ILLINOIS SEPTEMBER 1914 ''"^m^^^ Copyright, 1914 By Thomas Wood Stevens A FOREWORD For invaluable assistance in the preparation of this book, I wish to make acknowledgement to many citizens of Belleville and East St. Louis, and in particular to Judge Frank Perrin and Mr. Luke Hite, who placed at my disposal their great store of information regarding the history of St. Clair County. It is not possible, in the limits of the Pageant scene, to portray in full detail any one of the events treated; hence the effort has been to condense and select, and deal in the spirit rather than the fact of history. In some cases, as for example in the Clark scene, a picturesque hero- tale has been preferred to the hteral record; but in this case, though we introduce the scene of the ball which was apparently invented by Major Den- ny for his ^'Memoirs," the significant phase of the scene is found in Clark's interview with Pere Gibault, and here the Pageant follows the fact. I have in certain cases elaborated upon tradition for dramatic purposes, as in the Blair scene and the Court scene, but in each case with an effort to express character. Certain -scenes are here adopted from my * 'Pageant of the Old Northwest," and from other works which have a common back- ground with this. But the greater part of the book is, I believe, new. It gives me great pleasure here to set down my gratitude to Messrs. Solari and Schoeller, to Mr. Donald Robertson, and to the citizens of St. Clair County for the triumphant performance and reception of the Pageant. Thomas Wood Stevens. BY DIRECTOR JOSEPH SOLARI I cannot commend too highly the hearty co- operation shown by the people of Belleville in the production of their Pageant of St. Clair. From the leading spirits to the humblest laborer there existed a unity of purpose that made failure impossible. If the captains of industry could gather about them men and women such as participated in this work, w^ho leveled every barrier of prejudice and sought only to express the best that was in them, then this world indeed would be a "garden lovely in blossom, rich in fruit." The Pageant of St. Clair has been a genuine inspiration to me, and my one desire now is to see other communities awake to the wonderful possibilities of Pageantry. What is more inspiring than to see hundreds of men and women, of various beliefs and profes- sions, launch into an enterprise whose only sub- stance is a dream, and then see them turn it to shape and give *'to airy nothing a local habitation and a name." For such was what these men and women did. Indeed it requires great faith and courage to attempt to reflect the important characters and episodes in the history of a com- munity into living words and breathing pictures, with but the imagination as a tool and the word of the historian as a guide. The people of Belleville can justly be proud of their achievement, an achievement that gradually dawned like a glorious dream and quietly vanished as such, leaving an indelible impression and a lasting inspiration. Joseph Solari. BY MR. MUNIE In presenting this souvenir book of the Pageant of St. Clair to those who participated actively in the production of this great ''folk- drama" the St. Clair County Historical, Memo- rial and Improvement Association, which body was in charge of the Centennial Festivities which marked the One Hundredth Anniversary of the foundation of Belleville and the establishment of the county seat of St. Clair County, Illinois, at Belleville, the association sought a means to ex- press its thanks to all who helped make the Pageant the unquestioned success it was. Without the self sacrificing efforts of all who gave their time to this great enterprise the Pageant could not have been given. No one per- son or group of persons is entitled to a greater mead of credit than another because it required the united labor of all to accomplish the end sought. The Pageant will live in the history of Belle- ville and St. Clair County as the grandest com- munity enterprise ever undertaken and every participant will treasure the memory of his or her participation, whether in the cast or on the pro- duction staff. As chairman of the Pageant Committee and as President of the St. Clair County Historical, Memorial and Improvement Association I want to add my sincere thanks to every member of the Pageant ''family" for the conscientious service rendered. Respectfully, Michael L. Munie. The Pageant of St. Clair — PRODUCFD AT — BELLEVILLE, ILLINOIS SEPTEMBER 14 TO 19, 1914 UNDER THE AUSPICES OF THE ST. CLAIR COUNTY HISTORICAL, MEMORIAL AND IMPROVE- MENT ASSOCIATION — CCMMEMORATING — One Hundredth Anniversary of the Establishment of the Seat of Government for St. Clair County 111., at Belleville. OFFICERS AND DIRECTORS M. L. MUNIE, President F. W. LAWSON, Executive Secretary NIC. WULLER, Treasury DIRECTORS JUDGE FRANK PERRIN DR. B. H. PORTUONDO W. A. HOUGH EMIL GEIL JOHN SAX MISS JOHANNA LOREY MISS PEARL TILEY AUXILIARY PAGEANT COMMITTEE CHARLES PELKUS, Chairman MRS. CLARA HALBERT NEEDLES, Secretary MRS. J. W. RENTCHLER MISS ELSIE LENGFELDER MISS IDA THORNBURY MRS. J. W. TWITCHELL AUTHOR Thomas Wood Stevens DIRECTORS Joseph C. Solari, William Schoeller SCENE ONE [The Moundbuilders and the legend of the Piasa Bird. The moment chosen is that of the destruction of the monster by Ouataga; the scene is designed also to suggest the great racial movement which led the Indians to abandon their mounds and their agricul- ture.] CHARACTERS An Old Indian Chief Oscar Weber A Young Hunter John Pessel Ouataga, a Seer John Dietz Orie Morrisey Eugene Marsh Elmer Dorn Paul Peskind Clyde McCormick Curt Leuschner Elmer Laut Wm. Heimberger Oliver Funk Walter Dagne Lloyd Marshal Fred Blum MOUND BUILDERS Albert Hendrich Walter Batdorf Otto Hueffner Phillip Huefner Roy Metzler Lavern Metzler Fred Werner Isaac Walker Edward Kaysing Thos. Miller Nathan Peskind Frank Burns Hans Christopherson Clemens Rauth Will Krummerich Chas Burkhardt Philip Deitz Guy Anderson James Cobb [The overture is heard in the darkness, closing with an Indian motif of drums. A light falls on the platform of the Medicine Lodge, at the side of the stage, and White Cloud, (Wabakeshik) the Prophet, is discovered.! WHITE CLOUD Great Manitou, who livest in the sun, Whose voice we hear amid the battling clouds, Spirit who mad'st the world of the red clay, And in the world the children of thy might, I, the Foreteller, I the Prophet, call thee: For in my people's councils I am wise, And in the paleface councils am a child ; For I have fasted in the caves of tears, Lain ear-to-earth to hear thy whisper, worn Black war-paint of the prophet and the seer. And lo, the medicine and magic of thy name Are mine! Great Manitou, thy children fall, And the long bitter war trail nears its end. Let me look back. The fields were rich. The smokes Rose up from fire on fire along the hills, And all our people, tribe on wandering tribe, Prospered, and there was hunting for us all. So say the old men. Now the day is gone And the chill stars who dog thy westward track Watch us with wintry eyes like wolves at night. 6 Manitou of the Oak, I call on thee, For thou dost take the scalplocks of dead years To wear them in thy crimson autumn hood. And living long, dost feed upon the hearts Of the brave springs who sing beneath thy shade. Thou dost remember. Tree gods, hear my spell And breathe my medicine. Bring back the glov/ Of our forgotten camp-fires ; bring our chiefs To their lost councils. Feed mine ancient hate With visions of our wars, back to the dawn When there had come no paleface to our lands And our unhindered rivers were not shamed With any burden of our enemies. Teach me, gray Manitou of Oak, the tale. And let me hear, as when the old men make Among the tepees their unending vaunt. Thy winter-song. Oak, thou art tall. Thy head Nuzzles against the clouds; and thou art old, — Much thou hast seen. Thou followest no trail. So thou rememberest. Oak, I bid thee speak, I bid thy shadows clear. I bid the mom To burn anew — the red mom of our tribe. [The light fades suddenly and White Cloud dis- appears.] [The place is the top of a mound, dimly lighted; but the people are bringing earth and building up the level, under the direction of an old chief.] THE OLD CHIEF The earth, the red earth, my children. Heap it high, that this mound of our worship and our justice may rise, Heap it high, that the spirits of your dead fathers may be glad, That the earth gods may dance in the darkness, That the river manitous may not tear at our grave-s when they are maddened with the floods of Spring. [The Young Hunter comes running in.] HUNTER my Father — OLD CHIEF Speak, young runner of the Wolf Clan. HUNTER The buffalo— they feed along the hills of sunset. 1 have heard, I have seen. I have run hither that our hunters may follow them with arrows. [Cries of "The Buffalo," "Take Bows!"] OLD CHIEF Stay, my children. I am old. I move slowly. I am wise. Set not your feet to this hunting. Toil on in the good red earth. That the mounds may lift their heads above your fields, And the Manitous be not angry. And the dead sleep sound. HUNTER He is old, my brothers. His feet are heavy for this hunting. He bids you stay. But I have seen the hills black with the herds against the sunset. I call you to the trails and the feasting. OLD CHIEF The corn will ripen if the fields be guarded. But the lodge of the hunter is empty when the snows break around it. HUNTER The fields are for women. Let them gather the corn. Let them grind it in winter. [Ouataga enters, and stands listening.] OLD CHIEF Evil days are upon us, and our manitous are angry. They have sent against us the bird whose wings beat thunder. They have sent the Piasa bird, that he may devour us. They are angry at the wandering foot, angry be- cause of the red blood of slain beasts, Angry at the hunting and the feasting. Do not go my children, lest the bird of the light- ning devour you. I have spoken. 9 HUNTER He is old, and each year the buffalo graze further toward the sunrise. It is the will of Kitchemanedo, who drives them hither, And shall we turn from the feasting? If the bird of the thunder devour us, shall we not still be men? Shall we hide in our lodges till he fly away? [Ouataga comes forward.] OUATAGA I have heard. Lo, I, Ouataga, head of the Wolf Clan, I come from the rivers of sleep. And I speak with the voice of the manitou within me. The bird has laid a terror upon us. He has taken us, men and maidens, and rent us to shreds, and devoured us upon his high chff. He is the child of the flying cloud, and the mani- tous of the cloud people send him against us. Lo, I have dreamed, and through me the Piasa Bird shall die. OLD CHIEF He is a prophet. His dreams are true dreams, my children. OUATAGA Hunters of the Wolf Clan, men of the Turtle, Braves and bowmen of the Serpent and the Eagle, Are your bows ready, and your arrows sharpened, Are your hearts unshaken? 10 For this is a new hunting, and I have need of keen arrows. THE HUNTEPwS Yea, we are ready. OUATAGA Hear them my dream, as the Totem of the Wolf Clan has delivered it unto me in the caves of night : You shall hide in the hazels. Hide well, with your sharpest arrows on the bow- strings. Here on the mound one shall stand, alone. And alone he shall sing his death song, And upon him, singing, the Piasa Bird shall des- cend. And your arrows shall strike him down. Twenty bows there shall be, and the bird shall fall, and the war of the cloud manitous shall be vanquished. And one man, one alone, shall sing his death-song. OLD CHIEF Who giveth his hfe? Who standeth upon the mound ? And when shall the bird come upon him? OUATAGA Even now the bird is circling in the sky, And the death-song shall be mine. OLD CHIEF Ouataga is young. He is brave. He is a prophet, 11 I am old. The winter is gray upon me. Let me stand here. Let me die, that Ouataga may live. HUNTER Ouataga is head of the Wolf Clan. Let not the Wolf Clan weep for Ouataga. Let me sing the death-song. OUATAGA The death-song must be my death-song. The Bird is circling above me. For me, and for me alone, he will swoop. Let your arrows be ready. [They draw off and leave him, slowly, the twenty warriors hiding in the thicket. Ouataga stands alone upon the mound, chanting; the Old Chief, crouching at the foot of the mound, keeps up a low rumbling on a great tomtom.] OUATAGA There is no trail where my foot shall fall, Only the trails of the dead Under the bright world And out of the light of the stars. Hear now my death-song. There is no lodge where my bow shall hang. Only the lodge of the dead. In the smoke of the dark caverns, In the cold night. As the fallen branch I am withered — Hear now my death-song. [He sees the Bird above him.] Manitous of the Cloud, I call you to battle. 12 Behold, here I stand in my war-gear. [There is a sudden darkness, and a thunder of drums. The Bird descends, swooping at Ouataga; the arrows fly from the thicket and the Bird falls. Ouata- ga stands up, dazed but triumphant. The hunters rush from their hiding places, dancing wildly and shouting for a moment; then a pause, and the Old ^ Chief speaks.] ^C^ OLD CHIEF ^^ ^^ In the winter, in the long nights of Vi^J^iT* Our clans shall tell of this hui^Hil|^'' Our arrow makers shall cai-vewdn the stone hills, They shall draw in the stone the image of the Piasa, And agaist it our people shall shoot their arrows ; Each year they shall shoot them, that the Cloud people may remember this war-fare. HUNTER Lead us now, Ouataga, to the sunset. Let us drive the black herds from the cliffs, that our people may feast. OUATAGA You shall go to that feasting, but I, I will not lead you. [Shouting, the hunters go out.] OLD CHIEF The hunters go out, the young men, and the mounds are left alone. OUATAGA Even so. And the mounds, at the end of this hunting, shall lift their heads no higher. 13 It is the way of our people. It is the will of the Master of Life. [The lights fade gradually as Ouataga speaks, and he is left in darkness, standing upon the mound, the Old Chief crouching at his feet. 14 SCENE TWO [Genturies are supposed to elapse.] [The incident takes place in a village of the Illinois Indians. It is derived, so far as Marquette's part in it is concerned, from his own account, certain of the speeches being actually quoted from him. It is sup- posed to take place in the late summer of the year 1673.] CHARACTERS Pere Jaques Marquette Dr. J. K. Conroy Louis Jolliet Theo. A. Stoelzle Great Sachem of Illinois John J. Dengler Council Chief Anthony Stoeckel An Indian Messenger Geo. Joffray FIVE FRENCHMEN, FOLLOWERS OF MARQUETTE AND JOLLIET Edgar Hermann Henry Stoeckel Paul Becherer Ben Probst Lee Grandcolas INDIANS Oscar Becherer Adolph Reznicek Harry Drone Fred Drovetta John Juen Dominick Schilling Geo. WuUer John Sax Edward Juen Henry Meyer 15 Emil Klapp John Dietrich Aug. Kassebaum Jos. Cordie Paul Ratheim Stella Stenger Ella Fersch Theresa Thebus Cyrilla Gruenewald Marie Glaser Rosa Rensing Stella Reis Clotilda Faltus Elizabeth Conroy Kathline Kreher Ferd Mayer Henry Juen, Jr. John Kreher John Aug SQUAWS Scholastica Bretz Proxady Wessel Cecelia WuUer Edith Zellmann Mrs. Henry Stoeckel Mrs. August Kassebaum Mrs. Ben Probst Aurelia Schauerte Mrs. Oscar Becherer Rosa Zinser INDIAN CHILDREN John Rensing, Jr. Emery Kreher Leo Ratheim Isfried Probst Hannamay Thebus Louisa Walter Elizabeth Probst Marcellus Wilbert William Buechler Cornelius Wilbert Eugene Dammrich, Jr. Hamilton Igel Edgar Drone Claude Bedel Carl Reis Joseph Reis Eugene Kohl [The lights come on gradually and the fires of the council encampment are kindled; the Indians arouse themselves and make preparation for the Corn Dance. The women come in bearing bundles of cut maize; smoke ascends from the altar of the Corn Manitou, and the chiefs begin the dance, leading the chant; a second circle of the women is formed outside, swing- ing around in the opposite direction, the children run- ning outside.] 16 THE COPwN CHANT Kitchemanedo, Master of Life, Made man of the pipe-clay Alone — alone ; Made woman of pipe-clay To be his sister ; Made the Corn for her lover, Her lord. Last wooer, first lover, Her comfort and lord. So hath the Master of Life, Kitchemanedo, Sent us the Com. [This chant is repeated three times. As it ceases, the Great Sachem of the Illinois enters, followed by a group of his warriors, his Calumet Bearer, and his old men. The lights grow brighter.] GREAT SACHEM Am I welcome? COUNCIL CHIEF We dance, all our people, for joy that you have come. GREAT SACHEM Your tribe is gathered for thanksgiving — for the Corn Dance. You enjoy a good harvest? COUNCIL CHIEF Our harvest has been rich. We have sent mes- 17 sengers to your great lodge with our tribute — the payment of the seed-corn. GREAT SACHEM The calumet goes round, and your people dance, and the harvest is full. But in the southward country our brothers are at war. The Iroquois and the Miamis band against us. The peace- posts are blackened. We must help our bro- thers. COUNCIL CHIEF Our young men shall take bows and axes, and cut down your enemies as the winter cuts down the dried corn. SACHEM So you have sworn upon the sacred fire and the red earth, and you have exchanged with us the calumets. But now, against the Miamis, we have a strange war. The palefaces from be- yond the mountains have given to the Miamis their weapons of fire and thunder, and the Miamis drive our warriors before them as the red deer run before the hunting of the wolves. COUNCIL CHIEF We have heard of these pale men. They are manitous. SACHEM This is light talk, this talk of manitous ; but their medicine is strange and powerful. They smile, 18 and speak of the love they bear us, but their thunders slay us from the thickets. There are palefaces of two kinds, good and evil ; so much we know. Your young men must be resolute. COUNCIL CHIEF Why should not we also seek the palefaces and learn their witchcraft? It is folly of us to die and be no wiser. SACHEM Soon enough we shall learn it. [A Messenger enters and stands before the Great Sachem.] What word do you bring us, young man with feet like the wind? THE MESSENGER [Pointing.] The Black Gown. [A number of Indian children come running in, all looking back over their shoulders. All faces turn, gazing. After a slight pause, Marquette enters, fol- lowed by JoUiet and five Frenchmen, bearing packs and canoes.] MARQUETTE I am welcome ? SACHEM I thank thee, Black Gowti, and thee. French- man, for the labor of your coming. Never shone the sun so tenderly as to-day ; never rustl- ed the ripe corn so pleasantly as now, since you are with us. Our river, which was so angry 19 at the rocks that chafed it, flows calm and silent, since the canoes of the white man have passed. Behold, Black Gown, I give thee my little son, that thou mayst know my heart. Thou art beloved of the Great Spirit. Ask him to cherish me and my people. MARQUETTE [To Jolliet.] Here, Louis, is my mission. JOLLIET In all our travels we have seen no chief so gra- cious, no people so well favored for the work of the Church. SACHEM Black Gown, one medicine I ask of thee. The pale- faces have given their thunder-weapons to our enemies, the Miamis. Give us also weapons, that we may defend our lodges and our wo- men. MARQUETTE If I gave you weapons, you would kill the Miamis, who are my children also. SACHEM We would defend our hunting grounds. MARQUETTE I bring you another word, my son — a word of peace. 20 [The Sachem turns aside to consult with his chiefs; Marquette makes a sign to two of his followers, who go off; he then turns to JoUiet, leaning heavily on his arm as he speaks.] Louis, my friend, I have come to the end of my journey. Thou shalt leave me here. I have loved thee well, and while yet I live, thy name shall not fail from my prayers. JOLLIET While yet thou livest? What does that mean, father? MARQUETTE We have passed over many streams, and many portages. We have seen the Great River, and the pictured rocks, and the lake of the Ilhnois. No other Frenchman has seen them. Behold, how great a field for the Church, how wide a domain for the Cross. Louis, I have before me the task of my destiny, and I must not shrink. JOLLIET Nor do I shrink, Father. I will stay with thee. MARQUETTE Nay, my son. I have seen thine eyes wet when our carriers sang their songs of France. I have seen thee wistful, even to tears, when we have spoken of Quebec, the home thou didst leave to come with me. Thou shalt go on. I will re- main. It is only for a httle while. JOLLIET It is true, I have longed for home. 21 ]\1ARQUETTE I have known it, my son. SACHEM [Coming forward again.] Black Gown, dost thou refuse the weapons to me and my people? MARQUETTE [Going back to his carriers, who have brought in a white birch cross.] My children, I have for you no weapons. I desire that you shall live at peace mth the Miamis, and the Iroquois, and all the forest people. SACHEM Then I and my tribes are to be slain, and thou wilt do nought to help us ? MARQUETTE I will bring my faith, as my brothers have taken it to the INIiamis. [A threatening murmur rises among the Indians.] SACHEM And will thy faith shield us from our foes? MARQUETTE Yea, truly it will, for it is the faith of peace, and love. Behold, here I set up this cross for a sign. SACHEM The rains will rot it down, and the snow will cover it. 22 MARQUETTE Not so, for it shall be in your hearts. SACHEM Thy medicine, Black Gown, is as dust upon the wind. We wish to know thee and thy Manitou ; we are ready to be thy children; and thou offerest us a sign of birch wood. MARQUETTE I bring- you more than a sign, for I bring you truth. I will teach you of the life that dies not, and of the true God, and of the Holy Church ; I will teach you of the creation, and the redemxp- tion, and of the Blessed Virgin ; I will make plain to you the law of Christ, which is the law of love. Kneel down, all you who seek the truth. Here I set the Cross, and here, wliile I may, I will abide. [The Frenchmen kneel, then the Indians, slowly, as the light fades; at last only Marquette and the Great Sachem are left standing; then the Sachem kneels, and darkness falls upon the scene.] SCENE THREE [The place is still the village of the Illinois, ten years later. The scene is a composite of incidents in Parkman's "La Salle"; its special significance lies in the formal claiming of the land in the name of the French King, here somewhat arbitrarily used, though the ceremonial took place at various points in the Mississippi Valley.] CHARACTERS Eobert Cavalier de la Salle Julian Smith Henri de Tonty Louis P. Zerweck Friar Hennepin Frank C. Hipplar Friar Membre Edward Kohl A Mutineer, Jolycoeur Preston K. Johnson Nicanope, A Chief Frank Severit An Indian Princess Melba Hoerner A Mohegan Hunter LeRoy Wehrle FRENCHMEN, FOLLOWERS OF LA SALLE AND TONTY Marshal Glueck Fred Blum Len Reinhardt Oliver Hartnagel Joseph Falk Cornelius Grosspitch Harry Zerweck Harry Pilkington Ralph Winkelman Isadore Schanuel Joseph Peskind Ray Laubner William Stahlheber Othmar Fellner William Schulte 24 INDIANS William Arey Chas Brown Henry Wilson John Wiecking Joseph Jacobeck Adam Rauth Emil Keller James Kais Rudolph G^rth Edward Cloud Cleola Bleser Anna Pessel Mary Meng Pauline Halbert Grace Wilderman Theresa Gaerdner Maud Underwood Louise Guy Nancy Ittner Dorothy Stookey Ruth Bertram Georgia Hilgard Dorothy Beck Elsie Jean Huggins Virginia Renner Ruth Aull Marjorie Rentchler Marie Becker Janise Rentchler Edward Abend Lester Totch Herman Kohl Jacob Gross Edward Skrabel Ralph Williams Harry Luku John Wainwright Jesse Cloud Bert Gorges James Van Fleet SQUAWS Mabel Bischof Lily Flannagan Emma Saenger Lilian Taphorn Lisa Pithan Amelia Steumagel Estella Hough Josie Baker CHILDREN Helga Ebsen Anita Wirsing Albert Mitchel Chas Becker Alice Rentchler Clotilda Pelkus Phroso Bieser Catharine Niemeyer Ernst Hilgard Lester Heineke Marjorie Stanley Mitchel Woodrome 25 WHITE CLOUD Peaceful the Black Gown came; we welcomed him; He taught his faith ; we listened and we loved, For he was patient, brave and kind. He lives In drowsy annals of our winter nights. But those who followed in the Black Gown^s trail Brought harsher magic and hopeless war. Seeking the paths that we had never trod. They searched the blue horizons for some grim And desolate issue to forbidden seas ; They spoke to us of mysteries, shoulder-wise, As they with tireless footsteps hastened on. So the four hunters in our mystic tale Pursue each year the bear who never dies. And stain the leaves of autumn with his blood Till all the oaks and maples flame with woe. And the still snows come down on them like sleep ; But in the spring the bear awakes, his wounds Healed, and the hunters take their bows and strike The chase that follows through the fruitless years. La Salle and Tonty of the Iron Hand, Great Captains in this idle paleface quest. Came hither long ago and claimed the ground For some old king beyond the sunrise. These Were strong-heart men, these finders of the way. Who hunted the great rivers to their ends — Stern foes, whom fear could never shake. Behold, Wan Children of the sheltered lodges, these Who faced the mystery with dauntless eyes And trod our trails out with intrepid feat. The Captains of the v/hite man's outer march. 26 [The place is the same village; Tonty and his party discovered, the others sleeping, Tonty watching by Marquette's cross.] TONTY How strange a sei-vice is this, that I must watch by a Christian cross that was set here in the wilderness by our enemies. The wood may yield to us ; the rivers may give up their secrets ; but the hatred of those behind us will not abate. My Captain, this is a great endeavor, and we have fought hard in it, but the battle is not won. Little men bark at your heels for a few beaver pelts, while you look forward to see an empire. So be it. La Salle. Your vision is mine. [Enter an Indian Girl, Chief Omawha's daughter.] THE GIRL [Enter an Indian Girl, Chief Omawha's daughter.] Iron Hand. TONTY Princess. THE GIRL Man with the iron hand, I have this to tell you. Turn back, for you and your chief are betrayed. TONTY My chief never turns back. THE GIRL You must all die if you go on. There has been council talk in the dark. 27 TONTY Tell me of this council talk. THE GIRL The Miami, Monso, came last night. He spoke long with our old men. He brought presents from the Mascoutens and the Miamis. He said the Sieur de la Salle would break our tribe in his hand if our people let him pass. He said that you are all spies of the Iroquois. Turn back, Man-with-the-Hand-of-Iron, or our chiefs will slay you all. I have spoken. TONTY This is girl's talk. THE GIRL This is true talk. Iron Hand. [She starts away from him.] TONTY Stop, Princess, and tell me why? She's gone! [She runs out, and is lost to sight. It is now dawn, and the village is waking up. Tonty turns to arouse his followers.] TONTY Rouse yourself, Jolycoeur. The Sieur de la Salle will soon be here from the portage. JOLYCOEUR Who was that speaking with you, Tonty? TONTY A young squaw. 28 JOLYCOEUR So it is not so lonely for you on the watch, eh? The young women come out in the dawn to keep you company. TONTY She came in a matter concerning you, Jolycoeur. JOLYCOEUR Concerning me ? What did the young woman want with me ? TONTY She wanted to buy you, knowing you were good for nothing to me, to keep the dogs away from her children. JOLYCOEUR Tonty, I am not one to endure insult forever. TONTY No, Jolycoeur. You have threatened much. I have not slept. I have heard your complaints, and your treasons — heard them long enough. I know you have dealt too much with our foes. I say nothing to Monsieur de la Salle, but I warn you. That is all. [Enter the Mohegan Hunter.] What word, Mohegan? THE MOHEGAN Monsieur de la Salle is come. Iron Hand. 29 TONTY Fall in line, men. [The Frenchmen of Tonty's party are drawn up in a line. The Indians of the village gather around Nicanope and the other chiefs, to see the new arrivals. Enter La Salle, followed by Hennepin and the men of his party.] THE MEN OF TONTY'S PARTY [Cheering ironically.] Welcome to the Sieur de la Salle ! [The men of La Salle's party start to cheer also, but he stills them, saluting the others coldly; he then goes over to Tonty, laying a hand on his shoulder.] LA SALLE All has been well with you, Tonty ? TONTY All has been well, my Captain. LA SALLE I thank God for that. TONTY I have information for you. Let me give it be- fore you meet the council. [La Salle and Tonty walk aside, talking in a low tone. Father Hennepin approaches Father Membre, who has been one of Tonty's party.] HENNEPIN Brother, I pray you, tell me all the marvelous adventures you have endured since you came here, that I may set them down in my record. 30 MEMBRE In sober truth, brother, we have endured none. HENNEPIN I can not beheve it — that you have been all winter in this unkown wilderness, and have seen nc strange sights, rejoiced in no new perils. MEMBRE Nothing strange or new. We have been hungry. We have maintained life in a village of savages who hate us. We have baptized four children and one old woman. Some of our comrades have left us, stealing our arms and our food from us. We have seen the children of the Evil One at play around us. [Hennepin begins to write.] But no adventure — nothing strange or new. What do you write, brother ? HENNEPIN [Reading.] "Father Membre, a priest of unquestioned veracity, told me many curious adventures which befell the men of Tonty's command while in the wilderness of the IlUnois; and in parti- cular of a dance of golden devils, up and down over the house tops of the savages, which he saw conjured by the evil powers or an Indian magician." MEMBRE Brother, this is most unworthy — this writing of follies and lies. 31 HENNEPIN [Still writing and reading.] "When my party came to their rescue, Tonty's command had been greatly reduced by death and desertions. We found them intrenched up- on a great rock, and subsisting upon the leaves and bark of trees/' MEMBRE Intrenched upon a great rock? HENNEPIN Surely — the great rock at the turn of the river, some days paddling above. We marked it as we passed. MEMBRE And what is it, brother, that you write ? HENNEPIN The true history of my adventures in this great wilderness. MEMBRE And why do you make this relation ? HENNEPIN Because, brother, from my childhood I have loved more than anything the tales of travelers and seamen. When I was a boy, I spent my days among the inns where sailors recount their voy- ages, listening, Ustening, listening. I too have endured hunger, for this. I have sickened at the smoke and smells of the quays, but I have 32 soared at the thought of the brave tales I have heard there .... You would not un- derstand it. MEMBRE But if you love tales of true deeds, why do you write all this which is not true ? HENNEPIN Brother, you are most unjust. You tell me that you have hungered, that you have seen the play of devils around you, that you have maintained Ufe against the savages. I set all this down, in my own way, and you complain because you are not on a chff I have chosen for you. The chff exists. It is as true as holy scripture. You are not intrenched upon it, I admit, but that is your captain's fault, not mine. I pray you, pardon me. I must continue my history. [The circle for the council is now formed, and Nicanope, the Illinois chief, rises.] NICANOPE My Father, it is not alone that we may feast to- gether that we meet here in our village. You have said that you wish to go down our river, and even to the end of the Great River. You have given us presents, and we love you. So we tell you, this is not to be done. For the Great River Mississippi belongs to the evil Manitous; in its waters are terrible sei-pents, and on its shores are tribes that let none pass, but take all who travel that way, and devour 33 them. And if by your great valor you escape the serpents and the shore clans, you will at last be swept into a mighty waterfall, which plunges downward into a gulf too deep to be measured, do not go, my father, but turn back. The Great Manitou, the Master of Life, forbids it. LA SALLE My children, only yesterday you promised Iron Hand that you would help me to go down the Great River. Have the serpents and the water- fall come up in the night? NICANOPE Yesterday, my father, we did not know. LA SALLE We thank you for this friendly warning. But we were not asleep last night when Monso came to tell you that we were spies of the Iroquois. The presents he gave you are buried under your council lodge. If he told you the truth, why did he skulk away in the dark? If you are our friends, our children, as you say, go after this Monso and bring him back, that he may look me in the face. For I tell you openly that I will not turn back, now nor hereafter. [The chiefs, confused by his knowledge, gather around Nicanope. Jolycoeur steps forward from the group of Frenchmen and addresses La Salle.] JOLYCOEUR These are brave words. Monsieur de la Salle, but they are foolhardy as well. We believe what the 34 chiefs have told us of this river, and we can not find it in our hearts to go forward. LA SALLE You shall find it in your hearts to go where I bid you. JOLYCOEUR Monsieur de la Salle mistakes my meaning. He is a trader here, not a king. There are other traders on these trails. We are within our rights. [Some of the men gather behind Jolycoeur.] LA SALLE So? You have been corrupted by my foes — by the nameless thieves who hide in these forests and trade outside the law. I command you in this wilderness by right of my commission, by edict of His Majesty. JOLYCOEUR But this is no part of the King's domain. We are free here. We will not go on. LA SALLE Do you knov/ that this is mutiny and treason ? JOLYCOEUR I know we can not march forward to our certain death, merely to please you, Monsieur. This is the wilderness of the IlHnois, not the parade ground of Fort Frontenac. 35 LA SALLE When you rebel against my authority, you must take your chance against me. As for the King's right, I will prove you that. JOLYCOEUR If I must be your enemy, so be it. I am not alone. [The men behind him nod assent.] LA SALLE Are there no faithful men? [Tonty and Hennepin step forward beside him.] TONTY You still have friends, my Captain. LA SALLE Here, then, is my answer. I claim this land for the King. I speak as Saint Lusson spoke at Sault Ste. Marie, and loyal men will hear me to the end. [He draws his sword and steps forward, repeating solemnly the Proces Verbal de la Prise de Posses- sion.] In the name of the Most High, Mighty and Re- doubted Monarch, Louis the Fourteenth, Most Christian King of France and Navarre, I take possession of this land of the Illinois, and of all countries, rivers, lakes and streams adjacent thereunto; both those which have been dis- covered and those which shall be discovered hereafter, from the seas of the North and West to the South Sea; declaring to the nations thereof that they are vassals of His Majesty, 36 and bound to obey his laws ; and I promise them, on his part, protection against the invasions of his enemies. I bind all his subjects in this dominion to his laws, and to the authority of those who govern in his name, on pain of in- curring treason against His Most Christian Maj- esty. And I warn all others against seizure and infringement, on pain of incurring his resent- ment and the efforts of his arms. Vive le Roi ! [Hennepin and Tonty, who have knelt during this speech, rise, shouting.] HENNEPIN AND TONTY Vive le Roi ! [Most of the men break away from Jolycoeur and swing over to La Salle.] THE LOYAL MEN Vive le Roi! LA SALLE Forward ! [Jolycoeur and his mutineers persist for a moment, gazing at La Salle; then their heads drop, and they return to their packs. Exeunt La Salle and entire party of Frenchmen, La Salle and Tonty going last. As they disappear, two figures stand clear of the passive Indian group, Nica- nope, and the girl, Omawha's daughter. As the lights fade, she follows to the center of the stage, looking after Tonty; stands for a moment, irresolute; then goes slowly back to the lodge. The light fades from the scene.] 37 SCENE FOUR [Pontiac, failing in his war upon the eastern garri- sons, came West in 1765 to enlist the tribes against the English. He still had hopes of French assistance, and was to the last angry and incredulous, refusing to believe that the French dominion was over. The epi- sode marks a turning point in the history of Illinois, since it is directly concerned with the cession of the land from France to England; it is suggested by Parkman in his "Conspiracy of Pontiac."] CHARACTERS Pontiac Curt Heinfelden Chief of Illinois Curt Busiek An Old Chief Chas. D. Wagner Neyon, the French Commandant Irwin Wagner FRENCH ESCORT OF NEYON Dwight Harper Eugene Powell Harold Ward Lois Graner Benjamin Flannagan Gustav Rauth Joseph Gardner ..John Conrad Russell Schott Harold Anderson Fred Barbeau Elmer Merz INDIANS (SAME AS IN SCENE THREE) WHITE CLOUD So cold this Captain was, La Salle, who burned 38 In secret with indomitable flame. Our people knew, for we could understand A heart that never showed how deep its wounds, How grave its causes — we, the red folk, knew. But there were little men of his own clan Whose hate could never sleep. They tracked him down. And after him the Winters and the Springs Danced round the camp-fire of the shifting sun ; And braves, just come of age to hunt and woo When Tonty of the Iron Hand was here. Grew old, and sage, and died at last of years Before another chieftain lived whom I, The Prophet, raise to honor with my spells ; And when he came, he was an Ottawa, A man of mine own race, who loved his land And dared to battle with the robbers twain, England and France, who bargained, field by field, Our ancient hunting grounds away. This chief Was Pontiac, the last of our high sachems. And even now I hear his drums resound. See his great war-belt swinging in the lodge, And answer, in my heart, his dauntless call. [The place is the same, the Indians gathered in council. Enter Pontiac, with some of his people; the calumets are exchanged with ceremony.] PONTIAC My children, as I have spoken before, so now I speak. This war is for the lives of our people, and the land which the Giver of Light made for our heritage. Listen to my speech, which is 39 true talk. The English say the French have given them the land. But this could never be, since we have never sold our land. My children, our father, the French King, sleeps, and the English have seized his forts and his houses. But when the French King wakes — what then ? AN ILLINOIS CHIEF We have heard all this, Pontiac. We own the land. We hate the English. But the EngHsh are very strong. What do you require of us. PONTIAC First, I give you these presents, that you may know my friendship. [Pontiac's people bring forward presents, and among other things, a cask of brandy.] I require of you now some swift and true mes- sengers, that I may send this belt to call to- gether my people. Behold, in it are woven the totems of all my tribes and all my villages. Your messengers shall carry this, with my war call. [Two Indians, chosen by the Chief, cast aside their blankets and stand before Pontiac] PONTIAC Take now my great war-belt, and go down your river, and down the Mississippi ; wherever there is smoke of a village, stop and carry my word. Say that I, Pontiac, will drive back the English from the North and the East, and let them hold those who come from the South. Let the rivers 40 be closed. Let no canoe of the English pass, but sink it with lead and with arrows. I have spoken. You, who carry my war-belt, be faith- ful. [The messengers run off, carrying the great war- belt.] THE CHIEF We have given you messengers, brother, but our warriors can not help you in the East and the North. We are peaceful folk, and our harvests have been poor, and our strength wanes. We can not war against the English. PONTIAC Then I will bring upon you my Ottawas, and the Miamis, and the Iroquois — all those who have hated you. I will bum up your people and your tepees, as the fire eats the dried grass of the prairies. [There is a movement of unrest among the Illinois; one of Pontiac's men starts to beat a drum, others to lay aside their blankets.] AN OLD CHIEF Our father, the commander of the French, will soon be here. Let us speak in peace until he comes. PONTIAC My father, the French King, will help me when I am ready. I will not wait. Now, my warriors, let the war song begin. [He turns to the Illinois.] 41 And if you fail me, you shall surely die. [The Indian with the drum seats himself on the ground and begins beating it. His people throw off their blankets and prepare for the war-dance. The cask of brandy is broached, and the Illinois crowd around it, drinking. The murmur of the rising war song is heard. As the dance starts, another drum is heard, a drum to which French troops are march- ing. Enter Neyon de Villiers, the French Commandant, with a guard. Pontiac proffers him a belt of wam- pum.] PONTIAC Father, with this belt I open your ears, that you may hear. I bring you this war-belt that you may know I have not forgotten to hate the enemies of the French; that you may know I have not forgotten the black cloud which is over us all. I ask you, for the last time, to aid us against the Enghsh. Or, if you will not do this, give us powder and lead, and we will raise the hatchet alone. For we know that the French King i-s old, and has slept, but is now awake again. And now we shall sweep the English from our lands. NEYON Pontiac, our hands are tied. Our father, the French King, has forbidden us to injure the Enghsh. With this paper he has forbidden us, and we dare not disobey. If you and your tribes are wise, you will cease this warfare, and bury your hatchet forever, since our father, the 42 King of the French, has given this land to the English. PONTIAC Your father, the French King, could not give our lands. He did not own our lands. NEYON With this paper our hands are tied. Untie this knot and we will aid you. PONTIAC You tell me the French King has yielded to the Enghsh — that his scalp hangs in their lodge? Yet you hold in your hands my war-belt. NEYON I give you back your war-belt. Pontiac, our friendship is over ! [He flings down the belt.] PONTIAC I, too, here drop from my hands the chain of our friendship. Take my defiance. Frenchman. Against you, as against the English, my people will fight forever. This belt you have scorned ; but I have sent from me another, woven with the totems of seven and forty tribes. By that belt I defy you — I and all my warriors ! [During the last speeches, the Indians have been crowding around the brandy-cask, behind Pontiac. At the last words, he draws himself up by the cask. Neyon gives a quick order to his men, and leads them 43 off. The Illinois chief, from the group around the barrel, lurches forward, clings to Pontiac, and falls at his feet. Pontiac stares for a moment at the figure on the ground before him, turns to the group, and throws up his hand for attention. The Indians break into yells and laughter and rush off in the opposite direction to that which Neyon has taken. Pontiac lays his hand on the cask. It is empty. He lifts it above his head and hurls it from him. The lights disappear, and in the gloom the Indians remove their encampment.] 44 SCENE FIVE [The post of Kaskaskia was taken by George Rogers Clark in 1778. The episode as presented follows the tradition of Major Denny's Memoirs, rather than the literal history of the event, in that the entry of Clark upon the Habitant's ball is enacted. The essential part of the scene, historically considered, is to be found in Clark's interview with Pere Gibault, and this is played in accordance with the facts. While Clark merely claimed the territory for Virginia, it was by virtue of his possession of it that it was finally ceded to the United States. Soon after this time Clark sent Bowman to take Cahokia. CHARACTERS George Rogers Clark Wm. A. Hough Captain Rocheblave Charles Mullen Pere Gibault David Thomas Mr. Raycliff, a Traveler Ralph Hertzler French Gentleman Irwin Wagner A Young Lady Dorothy Needles Madame Rocheblave Jane Mullen An Indian Chas. D. Wagner The Fiddler Louis Kaltwasser Clark's Drummer Boy John Thompson A Courier Kirby Ogle Right Provost Fred Merrills Left Provost Bernard Coggan 45 Louie Guy Cleola Bieser Estelle Ittner Grace Knobeloch Richard Knoebel Clemens Gundlach Francis Winans Hubert Funsch Irwin Dunck Walton Marsh SQUAWS Maud Underwood Josie Baker FRENCH PEASANTS Myrtle Andel Selma Heineman Mable Schrader CLARK'S MEN Aug. Chenot John Theis Edward Schmidt Geo. Florreich Walter Dahm Walter Reisbich Ernst Weber DANCERS OF GAVOTTE Mildred Woelk Will Reichert Corinne Rudolph Edmund Bechtold Dorothy Needles Irwin Wagner Josephine Portuondo Cecil Conroy Alice Day Ralph Herzler Edna Rentchler Henry Rentchler Celia Gundlach Arthur Wiechert Matilda Muendlein Albert Heinemann Hedwig Wangelin Elmer Baldus Nanon Fischer Clemens Fischer ESCORT OF ROCHEBLAVE Dwight Harper Harold Ward Joseph Gardner Benjamin Flannagan Fred Barbeau Lois Granner Eugene Powell Russell Schott WHITE CLOUD Now let the moons change swiftly, and the Springs Scatter the snows with their returning feet. And let the years depart; I mourn them not. Here, on this bitter earth, beside this trail, Great Pontiac died ; and for his mighty life A vengeance fell upon the Illinois ; 46 Keener than prairie winds it licked them up, And all their treasons passed, like scalps that hang Unprized amid the tepee's dust and smoke ; For Pontiac, though his war-belt fell apart, And in his death was nothing glorious, Loved well his land and folk, and hated well The spoilers of his nation. Peace to h!m, And fortunate hunting in the woods of Death. The Frenchmen passed. They were our friends and brothers; The EngHsh followed, and were foes to us ; And last the Long Knives, folk we never knew% And never loved, and never understood. These Long Knives, kingless, driving men — be- hold How first they came, with Clark in the still night, And how they laid new^ laws upon the land, And reared their cities where the red deer browsed Before the Master of Life went back to sleep And our Great Spirit ceased to hear our prayers. [The place is Kaskaskia, a grove in the village where a dance is about to take place. Laughing groups of habitants come in with flowers to decorate the scene; they place benches at left and right, and a floral arch or doorway at the back; through this enter two Provosts of the Ball, who are to be masters of ceremony. The Provosts set to work ordering the guests, the girls along the left side of the stage, the men along the right. THE PROVOSTS [Dividing the party.] Pray you. Monsieur — pray you, mademoiselle — etc. 47 [Enter Commandant Rocheblave, with Madame Rocheblave and a guest, a fashionably dressed young Englishman.] THE PROVOSTS [On the Right.] Welcome to you, Monsieur le Commandant — and Madame le Commandant. We are honored sup- remely. ROCHEBLAVE Gentlemen, allow me to present my friend, Mr. RaycUff. PROVOST ^ We are enchanted. Mr. Raycliff is an English- man? RAYCLIFF [Bowing.] A traveller. a ROCHEBLAVE We are all in the EngHsh service, Mr. Raycliff. At your service. PROVOST By your permission, Monsieur le Commandant, the dance may begin ? [Rocheblave bows, and the Provosts confer apart. The Coureur de Bois enters, and goes immediately to Rocheblave.] THE COUREUR Captain, I beg to report. 48 ROCHEBLAVE Wait till the dance is begun. I have a guest. THE COUREUPw It is in haste. The Long Knives are up the river in force. They are coming down upon us. RAYCLIFF The Long Knives? MADAME ROCHEBLAVE The Americans, he means. We.^i^^i^JehTs every day — it's very awkward. ROCHEBLAVE Nonsense — It's not possible. We^9^0i v^^^'' COUREUR I have reported, Monsieur le Commandant. They say that Clark commands them — Clark of Vir- ginia. [Mr. Raycliff is visibly alarmed.] ROCHEBLAVE Be off, you'll alarm the ladies. [The Coureur salutes and goes out.] We no longer pay attention to these tales, Mr. RaycUff. [Enter the Fiddler, amid general applause. Roche- blave and his guests take seats, while the Provosts select the dancers for the Gavotte. The sets are nearly completed when the Provosts on the right selects a young Habitant, the one at the left selecting a young lady; the man comes fon^'ard, but the girl stands rebelliously still.] 49 PROVOST Pray you, Mademoiselle. YOUNG LADY No, Monsieur le Provost, I will not dance. PROVOST Mademoiselle, the gavotte waits. Monsieur at- tends. YOUNG LADY It is not that I have been two years chosen queen of the king's ball. It is that I do not choose. PROVOST This is most unusual, mademoiselle — most un- usual. YOUNG LADY I do not choose to dance with the gentleman you have called. Besides, Monsieur le Commandant has a guest. Do the honored Provosts know he does not wish to dance ? PROVOST [Speechless with rage.] Mademoiselle ! YOUNG LADY I have not heard the Provost's inquire of the guest. I do not know he does not wish to dance. Why not ask him? I will wait. 50 ROCHEBLAVE [Coming forward.] Monsieur le Provost, I have a guest. May I beg for him the honor of a dance. IMADAME ROCHEBLAVE This is most unusual. You create quite a flutter, Mr. RaycHff. [Raycliff bows low to Madame, and to the Provosts; while he is being presented to the young lady, Roche- blave turns to the rejected partner.] ROCHEBLAVE Monsieur, you place me perpetually in your debt. I thank you from the bottom of my heart for your kindness to my guest. [The young man bows and withdraws, Rocheblave returning to Madame. The dance begins. A crowd has gathered, and the sides of the stage are filled with settlers, soldiers and Indians. As the dance progresses, a light far back of the stage discloses the shadowy figures of Clark's men creeping down over the hill. Then Clark enters, unobserved; he is in the tattered uniform of a Virginia Colonel; his boots are missing, and he \v^ars mocasins. He saunters into the scene, and stands quietly watching, across from Rocheblave. An Indian spies him, and darts out, standing an in- stant before Clark and then running to Rocheblave.] THE INDIAN The Long Knives! [The Coureur rushes in center, shouting.] COUREUR The Americans! We are surrounded, Captain. 51 ROCHEBLAVE [Coming down to confront Clark.] Silence. Who are you, sir? CLARK Colonel Clark, at your service. [At the words, the crowd is seized with terror; women scream, the men shout, and in the distance war whoops are heard. Raycliff takes off Madame Rocheblave, the dancers run off, and the French soldiers move up behind Rocheblave.] ROCHEBLAVE By whose authority do you come here ? CLARK By the authority of Patrick Henry, Governor of Virginia. You are surrounded. Captain, your sword. ROCHEBLAVE Insolence! Men, this gentleman is our prisoner. [The soldiers start forward; Clark raises his hand, and a detachment of his rangers rushes in, threaten- ing the soldiers with rifles. Rocheblave's men, who are unarmed, fall back.] CLARK [With biting irony.] Gentlemen, I pray you continue your entertain- ment. I speak for the Governor of Virginia. Monsieur Rocheblave. I must again demand your sword. ROCHEBLAVE I will not surrender my garrison to your night prowlers. I will not 52 CLARK Put that man under guard. Disarm him. [The rangers arrest and disarm Rocheblave.] You have yet to know the measure of my severity, sir. I warn you, I can show no pity. I'll know whether we are to be openly defied or not. Search the town, and bring me all the Britishers you find. Let all keep within their houses, on pain of death, till I order otherwise. ROCHEBLAVE ' T protest, sir, against this savage mode of war- fare. CLARK I am quite able to care for my part of this busi- ness. Take him out. [The habitants have all gone save a few of the bolder spirits; Clark looks at these, frowning heavily, and they slink away. When they are gone, his ex- pression changes; he throws back his head, laughing to himself. The Fiddler, who has been watching him comes over, bobs humbly, and offers his greeting.] FIDDLER Monsieur the new Commandant, I hope you will not forget me, when you desire that there shall be a dance, for the people of the post. CLARK [Genially.] I shall call upon you, Monsieur. [The Fiddler loiters by the gate way. Enter, center, Pere Gibault.] 53 PERE GIBAULT [Frightened, but intent on duty.] Is this the American Commander? CLARK [Severely.] I am Colonel Clark, at your service. PERE GIBAULT I am a man of peace, Monsieur le Commandant, and know nothing of your war. I speak for my people, who are loyal subjects. I am called Pere Gibault. CLARK I am glad to meet you, sir. PERE GIBAULT I have come to speak for my people. Everywhere they beg for their Uves, and the village is mad with fear. IVIonsieur le Commandant, I must know what their fate is to be. Are they to be slaves of the Americans ? CLARK [Suddenly gracious.] You do not understand, Mr. Gibault. We have come to free these people, not to enslave them. They are to be citizens, not subjects. Mr. Gibault, ours is a war for Uberty, for justice. I must have order among your people, but they are free now, as they never were before. 54 PERE GIBAULT And they are not to be driven from their homes by your "Long Knives V CLARK Certainly not. PERE GIBAULT And they are not even to lose their property? CLARK Not a penny. PERE GIBAULT Tell me, Monsieur Colonel Clark, are they to be allowed to come to worship as they were ? CLARK We have nothing to do with churches, save to defend them from insult. By the laws of Vir- ginia, your religion has as great privileges as any other. PERE GIBAULT Monsieur Clark, my son, I am overwhelmed at your kindness. I am already, in my heart, a citizen of Virginia. I must tell my people. [He starts to go out, but returns.] Though I know nothing of the temporal business, I can give them some advice, in a spiritual way, that shall be conducive to your cause. God bless you. Colonel Clark. [Exit Pere Gibault; there is a pause, then glad cries and a sound of singing off stage. The Fiddler, who has lingered, now comes back and approaches Clark.] 55 THE FIDDLER I see it will be necessary for me to play to-night. Our people will want music. I hear them al- ready, singing. [A group of the dancers rushes gaily in.] CLARK You shall fiddle to-night under the flag of Vir- ginia, sir. Strike your strings. [As he speaks, the townspeople flock back, cheer- ing and exultant; they cross the stage and go on, tak- ing Clark with them and the lights disappear.] 56 SCENE SIX [Outside the porch of Geo. Blair's house. Mrs. Blair is sitting under the porch, churning. Mr. Blair is standing outside, watching for the ap- proach of the commissioners.] CHARACTERS Mr. Blair E. S. Helms John Hay R. M. Haj'^s Mr. Lemen Ed. C. Roediger Mr. Isaacs Julius Seib Mrs. Blair Sophie Rhein MRS. BLAIR George, what all are you standing there and look- ing at? BLAIR Nothing, my dear — nothing at all. MRS. BLAIR George, who are these men out there in the corn field? BLAIR What men? Oh! those men. I reckon they're the commissioners. 57 MRS. BLAIR Now look here, George Blair, you're keeping some- thing back. Out with it. Who are these com- missioners, and what are they doing in our corn field? BLAIR Now my dear, how can you imagine that I know anything about those commissioners. They're all perfectly reprehensible parties. There's Mr. Enochs and Mr. Lemen, the preacher, and John Hay that's clerk of the Courts. MRS. BLAIR I know right well who they are. What I asked you is what do they want in our corn field ? You understand that you are out of politics don't you? BLAIR Of course, I do, my dear. MRS. BLAIR You off sheriffing and gadding and talking and never turning a hand ; I won't have it ! BLAIR I understand that, my dear. MRS. BLAIR Then what do those commissioners want here? I'd like to know. BLAIR They're the commissioners to review the prospec- tive location for a new jurisprudence. 58 MRS. BLAIR Well they've got no business trampling through our com. BLAIR My dear, you can't be inhospitable to a official dele- gation. MRS. BLAIR You'll find out — they're coming over here. BLAIR Now I hope you won't be cantankerous. MRS. BLAIR I'll give'em a piece of my mind. Commissioners I wasting your time and tramping through the corn and jabbering all day. [Enter the five commissioners. Mr. Lemen, Mr. Enoch, Mr. Isaacs, Mr. Hay and Mr. Hays.] BLAIR Good morning, gentlemen. My wife was just re- marking how fortunate we are having you all in our midst, as the saying goes. [Mrs. Blair grunts and turns away from the com- missioners. She listens attentively, however.] ISAACS Mr. Blair, we're here on a matter of business for St. Clair County. We've decided to locate . you tell him, Mr. Lemen. LEMEN Mr. Blair, I need not remind you that it is the duty of every citizen to sacrifice his own per- 59 sonal profit and convenience to the service of the whole congregation — in this case the whole community. BLAIR [Movin,^ uncomfortably."! I supppose that's so, Mr. Lemen. LEMEN Without question, sir. Now, Mr. Blair, in this matter of a new location for the Courts, your duty MRS. BLAIR [Sharply.] George ! BLAIR Yes, my dear. Excuse me, gentlemen. MRS. BLAIR I'm here, that's all. BLAIR Yes, my dear, I understand. LEMEN To be quite candid, Mr. Blair, this commission has agreed on a new location. BLAIR What's the matter with Cahokia? The court has been there since before we were born. Why do you all want a new location? [All together.] LEMEN The danger of floods — — 60 HAY High water ISAACS The French influence. HAY And besides the legal French they speak there is corrupt — a reflection on the culture of the county. BLAIR Well, gentlemen ? ISAACS To put it blunt, Blair, we've decided — you tell him, Mr. Lemen. LEMEN The commissioners, Mr. Blair, have decided that the best location for the new seat of justice is here on your place. And we've come to negotiate with you for the necessary land. BLAIR You mean the county wants to buy my farm. LEMEN I do not. You will doubtless give the county the title to the necessary plat. It's your plain duty as a citizen and an ex-sheriff. BLAIR [Throwing a look at Mrs. Blair. Her face is very firm.] Mr. Lemen I respect you cloth, and all that. Duty as a citizen and all that — I'm an indefensible 61 patriot — no man more so. But give you my cornfield for a Court-house ? Well I reckon not. ISAACS But the advantages to you, Mr. Blair — you explain it, Mr. Lemen. LEMEN I refuse to argue with Mr. Blair on mercenary or personal terms. HAY Very good, Mr. Lemen. Let me present the mat- ter — there are some things about this you haven't thought of Mr. Blair. By your leave Mr. Lemen. In the first place, there's the great concourse of people to consider — the ad gres. sum populi — ^have you thought of that, Mr. Blair. BLAIR Of course, I have, Mr. Hay — ^but my cornfield. HAY I make no base appeal in pecunia Mr. Blair. But the county seat will mean a settlement, and in a few yeare a thriving city. Your amiable quaU- ties will show to far greater advantage as the host of a prosperous tavern than as a lonely farmer, clear up here on the bluffs. You're working too hard, George, you know you are. We're offering you an opportunity — an easy and sociable life. BLAIR Are you sure there'd be a chance for a tavern here ? HAY A chance — it's a clear necessity. MRS. BLAIR George Blair, you'll set up no tavern. You gas- sing amicable — and me doing thti work. I reckon not. HAY Your family would share your good fortune. George — no doubt of that. The advantages in a money way would be immense. Mrs. Blair would enjoy her leisure, I'm sure. In fact, George, I can't understand how you can keep your wife on the farm when she might sit in the tavern parlor in silks. You will become the founder of the city and your wife the belle of the sessions. BLAIR You put it very grandolinquently, Mr. Hay. I shall of course consult my wife. HAY Of course — of course. Blair's town — lovely name for a city. BLAIR Perhaps it would be better to call it Blairville, out of respect to the French population. 63 HAY Certainly — certainly. [Mrs. Blair brings down the churn dasher with a bang and prepares to arise and take a hand in the argument. Blair starts violently at the sound. Then a new idea strikes him.] BLAIR On secondary considerations, Tve another idea. I'd like to name the town for my wife. [She sits down again.] HAY And the French population? BLAIR IVe thought of that too— I'll call it Belleville. HAY [Grasping his hand.] Admirable, George. Beautiful name— sure to be a beautiful city. I can see it already. Magni- ficent — and a fine tribute to a charming woman. Now there only remains the formaUty of your signature. Five acres for a court house square — you can spare that. BLAIR Five acres! Free gift! IVIake it two, Mr. Hay. HAY Just as you say — though I'd be sorry to see this square too small for the town. And one other item, George. The County will be at great ex- pense here, surveying the town and all that. The rise in real estate will be enormous. You 64 ought to set aside twenty-five acres to be plat- ted, and you ought to give the county two lots in every square. MRS. BLAIR [Warningly.] George. BLAIR [To Hay.] Certainly not, Mr. Hay. That's too much — far too much. HAY But you own all the rest. And you want the city of Belleville to look upon you as a generous founder, not as a grasping proprietor. MRS. BLAIR George, give 'em one lot in each square — it won't cost you anything. BLAIR I don't understand, my dear. MRS. BLAIR [Marking on the cover of the churn.] Let me locate the lot — that's all. I'll get even with 'em for this. BLAIR On consultation with my wife, gentlemen, I agree to give one lot in every square. HAY Good. Now we shall want conveniences. What about a house to hold court in ? 65 BLAIR I can't do anything about that. HAY To be sure— you'll be getting your tavern ready. I'm afraid we shall have to hold the next ses- sion in the old place. MRS. BLAIR Offer 'em the conveniences. You may as well. BLAIR But I can't be raising a court house. MRS. BLAIR [Aside to Blair.] Give 'em the corn crib — the cornfield will be all tramped down. BLAIR Very well, gentlemen, — I'll give you the neces- sitous conveniences — small, I'm afraid, but substantial. HAY Very magnificent of you George, I'm sure. Now one thing more. Will you be so considerate as to bring up the records and the furnishings of the Court in time for the session? BLAIR Records and furnishings? HAY Yes, the benches and tables and books. 66 BLAIR That's a powerful lot of work, packing all those things I way up here. HAY Well, it's a small matter in the large transaction of establishing a city. LEMEN I'm astonished that you hesitate at this, Mr. Blair. BLAIR Hesitate at all that work! I couldn't think of doing it — wouldn't consider it, not for a moment, under six dollars. [The commissioners turn away.] LEMEN It shall be paid. [They go out in a body.] BLAIR Belleville — lovely name, my dear. 67 SCENE SEVEN [The first session of the Orphan's Court at Belle- ville; Judge Thomas and Judge Biggs presiding, John Hay, Clerk; John Hays, Sheriff. The Court is held under the trees in front of the little log com crib which Blair has provided.] CHARACTERS Judge Thomas Fred Fleischbein Judge Biggs Jacob Aull John Hay R. M. Hayes Mr. Blair E. L. Helms Mr. Hayes, Sheriff Henry Beineke Jesse Waddell Harry Kaufmann Mrs. Blair Sophie Rhein Polly Snyder Edna Rentchler Mrs. Jillson Kate Meng WOMEN GOSSIPS Anna Theis Alice Hughes Norma Neu Anna Louise Wangelin Frances Rentchler Jessie Wilderman Florence Aull Dorothy Winkler Lily Stoll Irma Schroeder FARMERS Irwin Dunck August Chenot Walton Marsh Francis Winans Ernst Weber • John Theis Clemens Gundlach 68 THE SHERIFF Oyes, oyes, oyes. Silence is commanded while the honorable the Orphan Court are sitting under pain of imprisonment. All persons having anything to do at this honor- able Court, either plea to enter or suit to pro- secute, are requested to come forth and they shall be heard. God save the United States and this their territory. W^'^C^^ JUDGE THOMAS -.^^V) J- What business is before the Cour^'^V)^^ JUDGE HAY The first business is to appoint a guardian for an orphan child, Polly Snyder. JUDGE THOMAS Are the parties in Court? MRS. JILLSON Your Honor, I have something to say in this case. This child, Polly Snyder has been for four months a charge on me, and on Mr. Waddell. CLERK [Writing.] On Mr. Waddell. JUDGE THOMAS Is Mr. Waddell in Court? SHERIFF He's here, your Honor. [Jesse Waddell steps foi-ward; he is a tall hand- some young man.] 69 MRS. JILLSON And it ain't a proper thing for her to be left this way on a bachelor. CLERK On a bachelor. JUDGE THOMAS I thought you said she was a charge on you, Mrs. Jillson? MRS. JILLSON So I did, sir, and I mean it too; but I'm looking after his house for Mr. Waddell since his mother died, and he provides her keep, your honor. CLERK He provides her keep. JUDGE THOMAS Then how is she a charge on you, Mrs. Jillson ? MRS. JILLSON She's a moral charge, your honor. CLERK Moral charge. JUDGE THOMAS And what do you petition this Court to do, Mrs. Jillson? MRS JILLSON She's ought to be put out to some respectable family to work for her keep. It's not right and proper for her to be left on a young man, and a bachelor. It's not — [suddenly confidential.] 70 You surely understand this matter, Judge. [The clerk looks up, annoyed at her informality.] JUDGE THOMAS Is the child in court ? SHERIFF Yes, your honor. JUDGE THOMAS Mr. Sheriff, will you kindly have this orphan child brought before the Court ? [Polly Snyder, a pretty girl of seventeen, steps for- ward near Jesse Waddell. Her appearance creates a stir of interest, and a group of town gossips crowd nearer to follow what is said.] JUDGE THOMAS [Looking at her with surprise.] Are you the orphan child, Polly Snyder ? POLLY Yes, sir — I mean, yes, your honor. [The Judge's lips pucker in a silent whistle and he turns to Judge Biggs, Mrs. Jillson steps down stage, so to place herself between Waddell and Polly.] JUDGE BIGGS [To Judge Thomas.] Did you see that? See the widow get between them? JUDGE THOMAS Polly, this Court wishes to do for you the best that's in its human wisdom. Tell the Court, how came you to be a charge on Mr. Waddell. 71 POLLY [Speaking earnestly and very simply.] I cannot tell you in my own way, your honor. My mother and father were lost. Our canoe sank as we crossed the river. They were drowned. Then an Indian took me through the woods. He tied my wrist to his and made me come. Jesse Waddell came on him at a turn of the trail, and took me away from him. I had no place — no home — no one. He was kind, and his mother was good to me. Then she died. Mrs. Jillson doesn't think I should stay. So I've come to Court to get a guardian. [There is a moment of silence, broken at last by the clerk, who is just completing his transcription of her speech.] CLERK Get a guardian. JUDGE THOMAS Jesse Waddell, do you want to get rid of this orphan child? JESSE [Interrupted by a look from Mrs. Jillson.] No, sir — I do if it's for her good, your honor. JUDGE THOMAS You're not complaining about her keep ? JESSE No, your honor, that's nothing. You see, your honor she's all I have in the world, since my mo- 72 ther died. But Mrs. Jillson didn't think it right and proper. CLERK Right and proper. JUDGE THOMAS Well, Mr. Waddell, do you think that by next spring JUDGE BIGGS One moment, I should like to put a private ques- tion to Mr. Waddell. [He pronounces it Waddle; Judge Thomas corrects him, and he leans over to whisper to Jesse, who steps forward; the gossips also press forward, listening.] JUDGE BIGGS [Whispering.] Haven't you thought of marrying her? JESSE Oh, yes, your honor — sometime. [There is a sudden movement of elation among the gossips. The Judge confers a moment.] JUDGE BIGGS Polly, this Court is going to let you choose your own guardian. Freely, now, without fear of what anybody may think. This Court will ap- point the guardian you choose. POLLY [Looking at Waddell.] If I choose, your honor — 73 MRS JILLSON Scandalous ! Is that proper law ! JUDGE BIGGS Just as I thought! Mr. Clerk make record that Jesse Waddel has been appointed guardian of Polly Snyder, orphan; he is to report to this Court at the spring session. MRS JILLSON Well of all the simple innoncents ! JUDGE THOMAS Are you making an effort to show your contempt of this Court, madam? MRS JILLSON [Turning back as she is about to go out.] I am not, your honor. I know it would be hope- less. [Exit Mrs. Jillson.] CLERK If the Court please, here is a claim for George Blair, for bringing the records of the Court here from Cahokia. What is the action of the Court on this claim ? JUDGE BIGGS What is the amount of the claim ? CLERK Six dollars, your honor. JUDGE BIGGS Is George Blair in Court? 74 BLAIR [Stepping forward.] He is, your honor. JUDGE BIGGS Six dollars in a considerable sum. BLAIR It's reasonable charge, your honor. A mere trifle, when you think what a powerful lot of work it was fetching all that stuff. And besides, I have the matter of the townsite to bring before the Court. Your honor may not know that I have given to the County of Saint Clair the tract upon which the Court is now in session. JUDGE BIGGS The Court appreciates your generosity, Mr. Blair. BLAIR I have here a plat of the townsite. CLERK Mr. Blair is too modest to call the attention of the Court to the further fact that he has presented to the County one lot in each block of the afore- said site. JUDGE THOMAS The Court, in behalf of the County of St. Clair, expresses its gratitude to Mr. Blair, and fur- ther decrees that an expression of its apprecia- tion be spread upon the record. BLAIR Your honor is most magnanimous. 75 JUDGE BIGGS May I see that plat, sir? Now sir, where are the lots presented to the County ? BLAIR Right there, your honor. One in every block. Lot five. Right in the middle of the block, your honor. JUDGE BIGGS [To Judge Thomas.] TimeoDanaos turn donaferentes.A. lot in the cen- ter of each block, sir! And how is the County to have access to those lots ? There's no front- age. BLAIR Does your honor imagine that anybody's going to be so scurvy mean as to fence up these lots all around ? JUDGE BIGGS [To Judge Thomas.] I imagine there will be no disagreement with the ruHng that the expression of appreciation order- ed by the Court be stricken from the record. BLAIR Now, your honor, I protest. CLERK The Court has an application from George Blair to keep a tavern here in Belleville. 76 JUDGE BIGGS He's keeping it, isn't he? CLERK He is, your honor. JUDGE BIGGS Then let him be Hcensed. CLERK And his tax, your honor? JUDGE BIGGS Six Dollars. [Blair is thunderstinick. The crowd seeing his ex- pression, forgets the Court, and breaks into riotous laughter; in the midst of which the lights go out.] WHITE CLOUD Manitou of the Oak^ thy whispering leaves Are not so many as the marching feet Thou makest sound upon mine ears. I hear The last great war dance of my people; hear The voice of Black Hawk chanting loud the war- song; But we were poor, and we had felt the pang Of hungry snow-times. We were filled with sleep While Black Hawk and his band fought out alone Our last dark battle. As thy whispering leaves, Oak, season after season came the march Of onward pale innumerable nations ; Each summer found their far-flung houses deeper Within our hunting grounds. Each year Mon- damin God of the corn-gift, gave the strangers comfort. 77 They seized our soil, and with unresting plows Made the broad prairies burn with yellow grain; So they grow rich, while we slink in and out, Poor ghosts amid the frozen stalks of corn That wail beneath the bleak wind's cruel feet. Yet they too deal in strife who are not free, And in their lodges they have Death for guest. Here now behold the white man's council ; laws Torn up and ancient freedoms bound. Not ours, Not of my people are these broken feuds. And seeing these, my hate flames out anew, And our Great River foams and shows her teeth. Hear now their war drums thundering; they go forth To seal their riven blood bonds. They too hold Only by battle what they build in peace. 78 SCENE EIGHT [German men and women, some dancers and some newly arrived with many bundles. Citizens, negroes, etc. A street or open place in Belleville, in 1853. A gate- way in the hedge at the right leads to Professor Deutsch's house. When the lights come on, a number of German settlers are waiting, at left. Professor Deutsch enters from gateway, a book in his hand. Enter Friedrich Hecker; he is a lean, blond man, in rough farmer's clothing; he has a long drooping mus- tache, and a disconsolate air.] CHARACTERS Gustave Koemer H. G. Schmidt Colonel Niles Charles Hamill Friedrich Hecker Herman Heimberger Professor Deutsch Elmer Leopold Heinrich Deutsch Waldo Hilgard A Justice of the Peace Robert Imbs A Constable Arthur Ogle A Negro Prisoner Elmer Baldus First Citizen Harold Emery Second Citizen Marshall Glueck CITIZENS Irwin Dunck August Chenot Walton Marsh Francis Winans 79 Ernst Weber Clemens Gundlach John Theis WOMEN SETTLERS Ida Rodenmeyer Ida Knig Lulu Wiesmann Lulu Dobschuetz Elsie Williams GERMAN IMMIGRANTS Florence Liese Oscar Liese Christine Mullen Irwin Leopold Vera Winkelman Arthur Bieser Grace Gilbert Arthur Davies Mae Hughes Harold Emery Irma Schlegel Walter Brandenburger Anita Raab Albert Steuemagel Virginia Ralph Arthur Baldus HECKER Ah, Herr Professor, wie geht es Ihnen ! PROFESSOR Ah — Friedrich Hecker! I'm so glad to see you! you come so seldom. I think how often of those days in the University— those stormy days. What eloquent speeches you made, and how handsome you were — (looking at him intently) Hecker, you've changed. HECKER Changed ! Mein Gott ! What you see is all that's left of an old revolutionist after five years of chills and fever in this damnable country. I am a shadow. PROFESSOR You don't mean it when you say damnable — this country. HECKER No. The country's not so bad, but the chills and fever — 80 PROFESSOR I have great hopes for the country, my friend. I know we must live hard for a time — there are lean years to abide. Well, we are ready. We are pioneers. Before I came out, I learned a trade. I learned to make shoes. Ja, ja, I, Herr Professor Deutsch, who never knew anything save botany, I am a cobbler. HECKER But you do not make shoes. Professor? PROFESSOR No. The people will not have the ones I make. I foresee, Hecker, that we Germans are more Uke- ly to find use for our science, than our shoe- making. We bring Goethe and Schiller, Mozart and Beethoven. Our idealism is a better import than the trades we tried so hard to learn. I may even hope to return to my botany. HECKER You have a farm ? PROFESSOR A little farm. My wife and the children wished to have it. It is very interesting. Hecker, this day I bought a cow, and I am now studying about the care of cattle. It is most interesting [Indicating his book.] [Voices are heard off stage, singing a German song.] HECKER Yes, we bring light and learning— and we find 81 chills and fever. Have you seen Gustav Koer- ner? PROFESSOR He will be here. There's a party coming from the Fatherland — I can hear them now. He will be here to welcome them. Hecker, about that cow — you would never imagine — [Their voices are drowned in the gay shouts of a group of Germans, newly come, who rush on to meet the party waiting at left of stage. There is moment of hilarious welcome. Then the music strikes up, and the dance begins. At the end of the dance the Germans troop off to the right, Hecker going with them and leaving the Professor aione. Enter Heinrich Deutsch, the Professor's son; the lad hangs over the gate or hedge and speaks to his father.] HEINRICH Father, father, come and show us how to milk the cow. PROFESSOR Eh? What? Ask your mother, Heinie. HEINRICH Das geht nicht. Mother and Elsa and Wilhelm and Rudolf and I — we have all tried. It's no use. PROFESSOR The cow, is she patient? HEINRICH Oh, yes, but we get no milk from her. You must come and show us how. 82 PROFESSOR One moment, my son. Just one moment. [He opens his book searches it for the desired in- formation. As he does so, a murmur of voices is heard from the left, rising rapidly. Then a group of men comes on the stage, much excited, the constable among them leading a negro tied by a rope. The Professor steps back beside the gate-way.] COLONEL NILES [Going down in front of the constable.] . Hold on there. What does that mean? CONSTABLE Stand out of my way, Colonel. I'm doing my duty. NILES By whose orders? CONSTABLE By the Squire's. It's all legal. A CITIZEN Get out of this, Colonel. SECOND CITIZEN This is no place for a abolitionist. [Enter Justice of the Peace.] NILES I demand to know what this man's crime is. I demand CONSTABLE Here comes the Squire, ask him yourself. 83 NILES Look her, Mr. Justice. What does this mean? What are you going to have done to this man ? JUSTICE The nigger, you mean? NILES Yes. JUSTICE In accordance with the law of the state, I'm go- ing to have him sold. NILES This is a free state. It's not according to the law. JUSTICE Oh, yes it is. He's not free. He's been in this place ten days. The fine is fifty dollars. I can put him in jail, but there would be no way to get him out. Do you want to bid on him, Colonel? FIRST CITIZEN [Tauntingly.] Take a look at him, Colonel. You might want to buy him. SECOND CITIZEN You'll get in trouble here, with your New England notions. Colonel. [Niles strides forward impatiently till he stands directly in front of the negro. Slowly he takes a large knife from his pocket; the constable gives back 84 a step. Niles swifty cuts the rope from the negro's hands. The constable and the crowd move forward to interfere. Niles faces them.] NILES Stand back, you slave drivers! CONSTABLE Get out of the way, Colonel. THE CPwOWD Drive him out! He's a damned abolitionist. Go on with the sale. Go on. THE JUSTICE I warn you. Colonel Niles. You are interfering with the law. If you don't let this matter pro- ceed, I'll have you committed to jail. Con- stable, cry the sale. CONSTABLE Hear ye all! This negro's indenture is for sale. What am I offered ? [Various bids are heard, mounting up to forty-five dollars. Then the First Citizen interrupts with a question.] FIRST CITIZEN Hold on. Judge. How long is he indentured for? JUSTICE For a fine of fifty dollars and costs. FIRST CITIZEN How long does that hold him? JUSTICE 85 Till it's worked out. SECOND CITIZEN Who's to say how long that is. JUSTICE The man who gets him. [Murmur of satisfaction from the bidders.] CONSTABLE Forty-five dollars I am offered. [Enter Gustav Koerner. The Professor hurries to meet Koerner, a look of horror on his face.] PROFESSOR Thank God you've come, Koerner. KOERNER What's going on here. PROFESSOR They're selling a negro into slavery. CONSTABLE Fifty-five I'm offered — fifty-five. KOERNER What does this menn? NILES It's an outrage on humanity. CONSTABLE Fifty-seven dollars. KOERNER What are you doing here, Mr. Justice ? FIRST CITIZEN We want no Dutchman meddling here. KOERNER I am not meddling, but I will meddle if it is neces- sary. Mr. Justice, on what ground of law is this sale conducted? JUSTICE By the law of the state, Koerner. You know it as well as I do. NILES It's an infamous law ! KOERNER I agree with you. Colonel— but what he says is true. Give me a moment here, Mr. Justice. There are a good many of us Germans here, and it may be wiser not to hurry. So. [He goes over to the negro.] YouVe been here ten days? [The negro nods. Koerner turns to the contable.] What's his fine? CONSTABLE Fifty dollars. And costs? Seventeen. KOERNER It's no business of mine. But I am a German and 87 KOERNER CONSTABLE I believe in the equal rights of all men. I live here. This is my town and I could not sleep in peace, I could not face my God in the sense of righteousness, if a man was sold in slavery here. [He takes out his purse.] I am a poor man — but I will not let this be done in Belleville while it is in my power to prevent it. There is the money, Mr. Justice. Let the man go free. CONSTABLE What shall I do, Squire. JUSTICE You'll have to let him go — the fine's settled. [The negro, dazed, looking at Ko-erner; starts for- ward as if to thank him; Koerner waves him off deprecatingly and steps toward the Professor; Niles comes down beside him; the mob starts off stage the way they came, silent and sullen.] 88 SCENE NINE CIVIL WAR CHARACTERS Colonel Grant George Andel Colonel Doherty William Andel Captain Holcomb Roland Wiechert Captain Abbot Albert Steudle Gustave Koerner H. G. Schmidt VOLUNTEERS Chris. Dietz (captain) Roy Metzler Guy Anderson Chas. T. Miller Otto C. Bilzing Wm. A. Miller J. C. Cobb Robert M. Ross Otto Hueffner Otto Wenzel Phil. Hueffner Fred Werner Albert Hendricks Edward Wiechert Edward Kaysing Isaac Walker DISTINGUISHED LADIES Amanda Sunkel Eleanor Busiek Meta Rombauer Eugenia Knoebel Anna Reis [A public place in Belleville, the tents of the Volun- teers in the background. Time, spring of 1861. Groups of people in the dress of the time are seen 89 walking back and forth. Volunteers in uniform, young ladies, etc. Judge Koerner comes in with Grant, who wears a captain's uniform and smokes a cigar. They go up stage center as they talk, slowly.] KOERNER You may carry my assurance to the Governor ; St. Clair County is devoted to the cause of the Union. These few days have seen enhsted nearly five hundred men. The county will give five thousand if the war lasts. GRANT We hope it will not last. KOERNER God forbid that it end with a victory for slavery. GRANT We must not let it end so. KOERNER It is the idea of liberty that brings forward these volunteers, especially those of German blood. You know how we feel on that score, Captain. GRANT Yes. [Colonel Doherty enters.] KOERNER I must make you acquainted with our officers. Colonel Doherty, permit me to introduce Cap- tain Grant, Assistant Adjutant General of Illinois. 90 COLONEL DOHERTY rm glad to see you, Captain. Haven't we met be- fore. Are you John Grant of Springfield ? GRANT [Shifting cigar and facing audience for first time.] Ulysses S. . . . Galena. [A group of ladies approach Koerner from right, bringing the flag; he speaks with them a moment a- side; the Colonel introduces Grant to two other offi- cers; he then goes off. Bugle call sounds immediately after his exit, left. The ladies and civilians draw back of Koerner at right of stage; the Judge standing at the head of the group with the flag; Grant at centre back. Enter soldiers forming in ranks, at right of stage. Koerner addresses them.] KOERNER The patriotic ladies of Belleville have honored me with the charge of transmitting to you this flag, made by their fair hands. It is the flag of our country, which never has been sullied, never has been disgraced. In your ranks I see many who, hke myself, have left another hemis- phere to plant their homes upon this free soil. My heart swells with joy and pride to see so many of you amongst the first to sustain the right and honor of our adopted country. Re- member that you are now Americans. Remem- ber that you are going to war with your breth- ren, and so temper your conducts that no need- less severity be laid to your charge, no harsher measures be used than those which the stern 91 necessities of war demand. Receive then, brave volunteers, this flag, the gift of your country- women. Support and defend it to the very last. Not your honor alone is concerned, but the honor of us all, the honor of our State and our common country. [At a gesture from Colonel Doherty, Captain Hol- comb receives the flag; Captain Abbot speaks in reply.] CAPTAIN ABBOTT We thank you, sir, for your counsel, and the noble women of our city for this flag. We know that, much as you are concerned with our welfare, you would rather hear of our death than our dishonor. On these terms we accept this flag. We will never return without it. [Cheers. The lights are dimmed as the troops march off; a spot light holding, at the back of the stage, the watching figure of Grant, for a moment after they have disappeared.] 92 SCENE TEN EAST ST. LOUIS [East St. Louis— Along, Ihii-Sft^sJ^ J^E^*-' The scene is along the l|^Dlik«JilrSt. Louis, 1878.] CHARACTERS John B. Bowman Dan R. Webb John B. Tefft John E. Miller H. G. Weber Kevine Kane James Connors Wm. Seeger Mother Croke Mrs. Rose Boylan A Watcher of the Flood J. L. Moon First Refugee J. W. Reed Second Refugee Leon G. Smith A Woman Refugee Miss Nellie Bailey A Captain of Militia Homer Hodson Mr. Darrell S. E. Wilson Mr. Feeney Martin Drury Mr. Barr J. H. Yingst A Workman on the Dike Theo. Soelinger Soldiers, Refugees, Deputies, Partisans of Bow- man and Darrell. Workers along the Dyke. J. M. Sullivan Misses Gladys Hohl E. Campbell L. Poettgen 93 F. Jenger Mrs. Leon G. Smith G. Hennan Margeret Smith M. Fehner Frances Mace E. McBeth Viola McHale Ralph Smith Vera McHale W. E. Nixon Margaret Coons W. E. Dittenmeyer Mary Griffin Omer Weilmuenster Elizabeth Lentz W. C. Reus Anna Lentz Mesdames J. Kircher Ethel Bailey B. Griffin Ethel Ellis Mayme Meteer Mammie Hayes Pearl Bell Janette Kirschner THE WATCHER OF THE FLOOD Still rising. More sand here. A VOICE How many? WATCHER Ten bags '11 hold her awhile. [Workers come in and lay bags of sand along the embankment.] WORKMAN Mother Croke's out again — I hear her up yon- der — singing and cursing the river. WATCHER Poor old soul — they ought to watch her better. [Enter Refugees.] WATCHER Wet down your way? 94 FIRST REFUGEE First floor's full. Reckon we'll lose our stock again. [Enter Mother Croke.] WOMAN REFUGEE The landlord told us it never came up to the house we were in now ; the parlor furniture's all afloat in the mud, and we've lost all our chickens. MOTHER CROKE I lost my chickens too. That was in fifty-eight. THE WATCHER You ought not to be out here, Mother Croke. They ought to look out for you. MOTHER CROKE WhoVe I got to look out for me. The river took all them that looked out for me. THE WOMAN REFUGEE Come along with me, Mrs. Croke — we're going up to the bluffs. MOTHER CROKE No I thank ye — I can't leave. I always come here when the waters rise. I have to watch. They try to hold me up there — but I get away. I used to think the river might bring me back what she took but I know now she never will. THE WOMAN But you can't do any good here, Mother. 95 MOTHER CROKE I can sit here and watch. She's afraid of me — I've such a hate for her in my heart. She's never come so high since I've cursed her — never so high as in fifty-eight. Sand bags— they don't help — but when I sit here and watch her, she don't dare come up. A VOICE OFF STAGE Nine feet eight. WATCHMAN Still rising. MOTHER CROKE Go along all you people — leave her to me. [She sits looking out over the water. More Re- fugees gather. A roof of a house floats by, all look- ing at it. Enter Barrel and Feeney.] DARRELL How is she now, Watchman? WATCHMAN Still rising, alderman, but slowly. I reckon she's about up. [More refugees enter — there is now a group of twenty or so.] FIRST REFUGEE Are you an alderman of this damned town ? DARRELL Yes, my friend. 96 FIRST REFUGEE Then why don't you do something about this sort of thing? DARRELL That's easier said than done. FIRST REFUGEE I didn't say it was easy — but if you expect people to live it's necessary. DARRELL I quite agree with you, my friend! But what are we to do? The Council can't move while the Mayor and his crowd block everything. SECOND REFUGEE What does he want, anyway? FIRST REFUGEE We ought to hold a meeting — ^we ought to do some_ thing. DARRELL Again I agree with you. You asked what the Mayor wants. I'll tell you. You see that foundation over there — the one with the ladder up to it. He wants the whole town built on that grade. He wants all the lots filled that deep. He wants all the streets raised to that level. FIRST REFUGEE That can't be done — you know that. Look what it would cost. OTHERS Impossible. Can't be done, etc. 97 DARRELL Well if you can't afford it, the Mayor has no ob- jections to j^our moving away. SECOND REFUGEE So he and his crowd could pinch us out. Well it won't work — this'll never be a rich man's town. FIRST REFUGEE We ought to hold a meeting right here. We ought to have a dike built. We ought to let John Bowman know he can't run the town. We ought DARRELL I quite agree with you. But we've elected a Hungarian autocrat as Mayor, and now we stand here and talk, while the water rises. FEENEY Alderman — ^these people all think as we do. REFUGEES We're with you ! Go ahead ! FEENEY I move you sir, that this indignation meeting be regularly called to order and that you, sir, tell us the facts about the irregular status of the Mayor and his council. REFUGEES Aye. Aye. 98 FIRST REFUGEE Let's have an indignation meeting — Let's do some- thing. DARRELL You may not know, my friends, that steps are al- ready on the way. The Mayor's council is elect- ed under an illegal act of incorporation — as we can prove. He stands for this crazy scheme of grade raising. He wants to drive you out of town. He's a land speculator and a tyrant. He wants to ruin you all by raising the grades. Why? I'll tell you — it would make him a rich man — that's why. FIRST REFUGEE Then we ought to drive him out. SECOND REFUGEE We ought to string him up. He's governing us illegally and the flood is gutting the town. DARRELL You'll find it all as I say. As an alderman and a citizen I'm with you. We've got to make an end of this. FEENEY [Interrupting.] For God's sake, Darrell— here he comes. DARRELL Let him come. Our friends here will tell him what they think of him. [Enter Bowman and Tefft, walking along the edge of the dike.] 99 MOTHER CROKE God help you, Mr. Mayor. SECOND REFUGEE There he is — there^s the man we're after. OTHERS [Shouting.] Robber! String him up — He wants to drive us out. Thief! Hound! etc. [Bowman stands still for a moment, facing them and the shouting dies down. He looks from the crowd to DarrelL] BOWMAN I know what you've been saying when I see who is here. SECOND REFUGEE This is a meeting, Bowman; we won't stand any abuse. BOWMAN No. You'll hear none from me. We are bro- thers in misfortune — it's no time to fight among ourselves. FIRST REFUGEE We want to be peaceable, Bowman, but we demand action. SECOND REFUGEE Our houses are being flooded, and you're to blame. You can't quiet us with palavering about bro- thers. I'm damned if you're any brother of mine. You're house ain't flooded. 100 BOWMAN My town is. DARRELL It'll be your town, if this goes on, Bowman — your muddy pig pen of a town. These people know where you stand. BOWMAN No, they do not know. FIRST REFUGEE You favor this mad idea of raising all the grades, don't you ? You know that would ruin all of us. SECOND REFUGEE You've blocked the building of the dike, haven't you? You've let the water in on us, haven't you? BOWMAN My friends, you cannot build a dike high enough ; if you could, our city would smother itself in the undrained pollution behind it. You see that foundation yonder — that's the height our streets will have to be. I have been to Wash- ington for help — and got none. We must first help ourselves. We must protect our com- merce. We must build our town on the rock — not on the sand. It costs money — it is hard — I admit all that. But we must not look for- ward to a life of dread whenever the river swells. We must not rear our children in a quagmire. This city has a magnificant future — we must look forward and build to that. 101 DARRELL We've heard you talk of future, Bowman, long: enough. What about the present — to-night ? FIRST REFUGEE Let him finish, alderman. Fair play. BOWMAN For to-night I have taken what steps I thought best and Fm doing what I can. We must pre- serve order now, but when the water goes down, we must work for a new order. And we shall have it, too. Who is there among you who would not rather live on that level [pointing to the foun- dation] than below it? We have only to begin, and capital will flow in to complete the work. You men and women who are driven from your homes to-night, do you want to go back to them as they are — or do you want to bear your share in the labor that will make them safe forever? FIRST REFUGEE But can it be done — is it worth the struggle ? BOWMAN My friends — we shall Hve to see a city worth fight- ing for. The lines of trade that make a city's destiny converge here. The future is as cer- tain as life. FIRST REFUGEE Maybe he's right. 102 SECOND REFUGEE Our trade would be immense if we could make it safe — no doubt of that. FIRST REFUGEE If there is to be a new order — [^lenacingly, looking at Bowman.] DARRELL There is, my friend — a new order. Good night! [Darrell and Feeney go out.] BOWMAN How is it now, watchman ? WATCHER Not much change, Mr. Bowman. MOTHER CROKE She knows I'm here now. She won't come any higher. BOWMAN Better go back, then. Mother. MOTHER CROKE You know how she goes down when I come, don't you, Mr. Bowman? BOWMAN Yes, mother, I know. You go back now. WOMAN REFUGEE I tried to get her to come with me. BOWMAN Good. Now, Mother. I'll have to give you or- ders — I'm still the Mayor, you know. 103 MOTHER CROKE I can't go yet. I can't leave yet. I must watch. [Enter Sheriff Weber.] SHERIFF WEBER Mr. Bowman, I hear the old council crowd is down at the engine house. They're holding a meet- ing. BOWMAN That's all right, Sheriff. Let them talk. This is no time to quarrel with them. SHERIFF They mean to make trouble, Mr. Bowman. They're playing some trick with the metropolitan police behind them. BOWMAN Sheriff, we've -still a bad night's work ahead of us. I've sent for a company of mihtia, but even with their help it may be bad enough when the water begins to fall. I'll not worry about Darrell and his crowd — not now. WEBER Just as you say, Mr. Bowman. BOWMAN Better bring out your deputies and post them, Sheriff. You know what's Hkely to happen. WEBER We'll report to you here, Mr. Mayor. [Weber goes out.] 104 TEFFT [Who has been speaking aside with the refugees.] Mr. Bowman, there's trouble afoot with Barrel's crowd. BOWMAN I know. But we have to look out for the rats when the water goes down. And there will be relief work to do. I've no time to argue with them. TEFFT They don't mean to argue. BOWMAN They can only talk and obstruct — that's all they're good for. I'll let them talk, but I will not let them obstruct. WATCHER She's been stationary for nearly ten minutes. MOTHER CROKE Let her come an inch higher if she dares — she knows I'm here. See how black and still she looks. [Re-enter Sheriff Weber with deputies.] SHERIFF All here, Mayor Bowman. BOWMAN You know your duty, men. I need not tell you to be vigilant, and to be patient with the people who have lost their goods. And if you discover any looting of houses as the water falls 105 SHERIFF We understand, sir. [Enter Mr. Barr.] BARR Mr. Bowman, I am asked to inform you that the legal city council is now in session at the Engine House, and that it is your right to preside over the meeting. BOWMAN You mean the old council — DarrelFs crowd. BARR Yes — I mean the legally elected city council of East St. Louis. BOWMAN They recognize me as the legally elected Mayor ? BARR Yes. BOWMAN Well, I do not recognize them. BARR So we supposed, and I have to inform you that they have chosen an Acting Maj^or, that they have taken charge of the metropolitan police, and that you exercise authority here at your peril. BOWMAN I have no choice — I must exercise authority. 106 BARR [Consulting his watch.] The police will go to their posts in ten minutes. After that — you've got your warning, Bowman. [Exit Barr.] SECOND REFUGEE Good God — I didn't think they'd go as far as that. FIRST REFUGEE It's terrible. Why Mr. Bowman, the city in this emergency without your help BOWMAN Sheriff, this is insurrection against law and or- der. You will place the members of this old council meeting under arrest immediately. SHERIFF WEBER I hear they're armed, Mr. Bowman. BOWMAN We have eight minutes. TEFFT For the love of God, Mr. Bowman, don't show yourself. It's you they're after. It will only lead to fighting if you go. BOWMAN You may be right, John. SEVERAL REFUGEES Don't go, Mr. Bowman. It would only stir up trouble, etc. 107 BOWMAN I'll wait here, Sheriff. You know what to do. They will give in when they see you're in earnest. [Exeunt Sheriff and men.] [A pause.] IMOTHER CROKE [To the river.] So you're going down, you black murdering old serpent. You know I'm here, and you shrink back. You got my chickens, and my house, and the cradle, and what was in it, and you slunk away. They'll build dikes to hold you, and you'll just gurgle over them. So long as the town lies under your mark you'll creep and swash into it, and the ice'll bark the tall trees. WOMAN REFUGEE Let's go on — I can't bear to hear her. FIRST REFUGEE We can't start yet — we must wait and see. [A sound of firing is heard off stage.] TEFFT Good God— They're fighting! [The refugees shrink together at the left of the stage. The firing continues and the deputies fall back, fighting, coming on stage at right. As they reach right center one of them is hit. He leans for an in- stant on Sheriff Weber, spins around and falls at Bowman's feet.] SHERIFF WEBER It's Jim Connors. They've hit him. 108 BOWMAN The cowards. They've killed him. [He starts toward right. Tefft holds him back.] TEFFT Don't stir, Bowman. They're waiting for you. BOWMAN Let me go — let me go. SHERIFF WEBER Stay where you are, Mr. Bowman. BOWMAN [Leaning over Conners.] Poor boy. And I sent him into this. I thought it was for the best — Poor lad ! [Enter Militia Company. The Captain goes for- ward to Bo\\Tnan and Weber.] CAPTAIN I am instructed by Governor Cullom to report to you for orders, Mr. Bowman. I understand there's resistance to law at the city engine house. Are we to take the building, sir ? BOWMAN [After a pause.] No. There has been blood shed here. Let there be no more of that. We have enough to do to make a city above the reach of flood — fighting enough against the merciless powers of nature. I can see it clearly, my friends — the great peace, the mighty uprising of industry, the tide of com- merce filling all this plain from the impregnable dikes of the future to the hills. You will all see 109 it. But to-night we have work to do. And for my part, I will carry this strife no further. Let there be order, and let us wait for peace. [The light goes out.] WHITE CLOUD Manitou, these are idle things. I see Through all this flame and fight, the winter fall. We come from barren councils home to beg For food. And while we stand aside and sulk Desiring war but never daring it, The paleface beaver peoples build their dams, The furrows creep across the hunting grounds. And foolish treaties bind us to our woe. Their beaver work stands firm against the frost, While eagles flee before the winter stars ; We watch the leafage of our state drift down While here they build another, fashioned strong In laws we may not learn, and mysteries They offer us too late. For us the trail Leads on to night. Great Manitou, my prayer Is granted, and my darkened eyes behold The ruin of our nations. Oak, I make My sacrifice to thee, and so depart Wise in thy bitter dream, uncomforted. [The characters of the entire Pageant pass across the stage in review, in reversed chronological order, White Cloud passing last.] 110