is itself a flexible term in this context; while the paperback ‘The Good Woman adheres far less closely to Der gute Mensch von Sezuan, which, however, readers can find translated literally in the first Minnesota edition, EB. Berlin, March 1965 THE CAUCASIAN CHALK CIRCLECHARACTERS Old Man on the right Peasant Woman on the right ‘Young Peasant A Very Young Worker Old Man on the left Peasant Woman on the left Agricuiturist Kato Girl Tractorist Wounded Soldier The Delegate from the capital The Singer Georgi Abashwili, the Governor Natella, the Governor's wife Michael, their son Shalva, an adjutant Arsen Kazbeki, a jat prince ‘Messenger from the capital Niko Mikadze and Mika Loladze, doctors Simon Shashava, a soldier Grusha Vashnadze, a kitchen maid Old Peasant with the milk Corporal and Private 16 ‘The Caucasian Chalk Circle / 17 Peasant and his wife Lavrenti Vashnadze, Grusha’s brother Aniko, his wife Peasant Woman, for a while Grusha’s mother-in-law Jussup, her son Monk Azdak, village recorder Shauwa, @ policeman Grand Duke Doctor Invalid Limping Man Blackmailer Ludovica Innkeeper, her father-in-law Stableboy Poor Old Peasant Woman Irakli, her brother-in-law, a bandit Three Wealthy Farmers Illo Shuboladze and Sandro Oboladze, lawyers Old Married Couple Soldiers, Servants, Peasants, Beggars, Musicians, Merchants, Nobles, ArchitectsTHE CAUCASIAN CHALK CIRCLE The time and the place: After a prologue, set in 1945, we ‘move back perhaps 1000 years, The action of The Caucasian Chalk Circle centers on Nuka (or Nukha), a town in Azerbaijan, However, the referred to in the prologue is not Baku (capital capital Soviet Azerbaijan) but Tiflis (or Tbilisi), capital of Georgia, When Azdak, later, refers to “the capital” he means Nuka itself, though whether Nuka was ever capital of Georgia 1 do not know: in what reading I have done on the subject I have only found Nuka to be the capital of @ Nuka Khanate, The word “Georgia” has not been used in this Er version because of its American associations; instead, os name “Grusinia” (in Russian, Gruziya) has ES caucasia are not far to seek. The play was written when Soviet chief of state, Joseph Stalin, was a Georgian, as. his favorite poet, cited in the Prologue, Mayakovsky. Ai surely there is @ point in having this story acted out at the place where Europe and Asia meet, a piace incom; Tich in legend and history. Here Jason found the Fleece. Here Noah's Ark touched ground, Here the of both Genghis Khan and Tamerlane wrought havoc, —EB. PROLOGUE Summer, 1945, Among the ruins of a war-ravaged Caucasian village the members of two Kolkhoz villages, mostly women and older men, are sitting in a circle, smoking and drinking wine. With them is a pevecate of the State Reconstruction Commission from Nuka, PEASANT WOMAN, left (pointing): In those hills over there we stopped three Nazi tanks, but the apple orchard was already destroyed, OLD MAN, right: Our beautiful dairy farm: a ruin, GRE TRACTORIST: I laid the fire, Comrade, Pause, peczoaTs: Nuka, Azerbaijan SSR, Delegation received from the goat-breeding Kolkhoz “Rosa ‘This is a collective farm which moved castwards on orders from the authorities at the approach of Hitler’s armies. They are now planning to return, Their dele~ gates have looked at the village and the land and found a lot of destruction. (Delegates on the right nod.) But the neighboring fruit farm—Kolikhoz (to the left) “Galinsk”” to use the former grazing land of Kolkhoz “Rosa Luxemburg” for or chards and vineyards, This land lies in a valley where grass doesn’t grow very well. As a delegate of the Reconstruction Commission in Nuka I request that the two Kolkhoz villages decide between themselves whether Kolkhoz “Rosa Luxemburg” shall return or not, 19a7 ‘OLD MAN, right: First of all, I want to protest against th time’ limit on discussion, We of Kolkhoz “ Luxemburg” have spent three days and three night getting here. And now discussion is limited to h a day. WOUNDED SOLDIER, left: Comrade, we haven't as mat villages as we used to have. We haven't as matiy hands. We haven’t as much time, GIRL TRACTORIST: All pleasures have to be rationed. To Bertolt Brecht bacco is rationed, and wine. Discussion should be rationed. OLD MAN, right (sighing): Death to the fascists! But I will come to the point and explain why we want our vall back, There are a great many reasons, but I'l be; with one of the simplest, Makin Abakidze, uny the goat cheese. (A peasant woman from right take from a basket an enormous cheese wrapped in a clot Applause and laughter.) Help yourselves, Comrad start in! OLD Ma, left (suspiciously): Is this a way of influencit us? OLD MAN, right (amid laughter): How could it be a of influencing you, Surab, you valley-thief? Everyo knows you'll take the cheese and the valley, to (Laughier.) All T expect from you is an honest swer. Do you like the cheese? OLD MAN, left: The answer is: yes. OLD MAN, right: Really. (Bitterly.) I ought to have kno you know nothing about cheese, OLD MAN, left: Why not? When I tell you I like it? OLD MAN, right: Because you can’t like it. Because not What it was in the old days. And why not? ‘The Caucasian Chalk Circle Pe cause our goats don’t like the new grass as they did the old, Cheese is not cheese because grass is not grass, that’s the thing. Please put that in your report, OLD MAN, left: But your cheese is excellent, OLD MAN, right: It isn’t excellent, It’s just passable. The new grazing Iad is no good, whatever the young people may say. One can’t live there. It doesn’t even smell of morning in the morning. (Several people Taugh.) DELEGATE: Don’t mind their laughing: they understand you. Comrades, why does one love one’s country? Because the bread tastes better there, the air smells better, voices sound stronger, the sky is higher, the ground is easier to walk on. isn’t that so? OLD MAN, right: The valley has belonged to us from all eternity. SOLDIER, left: What does that mean—from all eternity? Nothing belongs to anyone from all eternity. When you were young you didn’t even belong to yourself, ‘You belonged to the Kazbeki princes. OLD MAN, right: Doesn't it make a difference, though, what kind of trees stand next to the house you are born in? Or what kind of neighbors you have? Doesn't that make a difference? We want to go back just to have you as our neighbors, valley-thieves! Now you can ail laugh again, OLD MAN, left (laughing): Then why don’t you listen to what your neighbor, Kato Wachtang, our agricultur- ist, has to say about the valley? PEASANT WOMAN, right: We've not said all we have to say about our valley. By no means, Not all the22 | Bertolt Brecht houses are destroyed. As for the dairy farm, at least the foundation wall is still standing, DELEGATE: You can claim State support—here and there —you know that. I have suggestions here in my pocket. PEASANT WOMAN, right: Comrade Specialist, we haven't ‘come here to haggle. I can’t take your cap and hand you another, and say “This one’s better.” The other ‘one might be better, but you like yours better. GIRL TRACTORIST: A piece of land is not a cap—not in our country, Comrade, DELEGATE: Don’t get mad. It’s true we have to consider a piece of land as a tool to produce something useful, but it’s also true that we must ize love for a cular piece of land, As far as I'm concerned, Td like to find out more exactly what you (10 those, ‘on the left) want to do with the valley, orners: Yes, let Kato speak, KATO (rising; she’s in military uniform): Comrades, last winter, while we were fighting in these hills here ag Partisans, we discussed how, once the Germans were expelled, we could build up our fruit culture to tem times its original size, I've prepared a plan for an irrigation project. By means of a cofferdam on our mountain lake, 300 hectares of unfertile land can be irrigated. Our Kolkhoz could not only cultivate more fruit, but also have vineyards. The project, how= ‘ever, would pay only if the disputed valley of Kolkhoz “Rosa Luxemburg” were also included. Here are the calculations. (She hands DELEGATE a briefcase.) OLD MAN, right: Write into the report that our Kolkhoz plans to start a new stud farm, The Caucasian Chalk Circle / 23 GIRL TRACTORIST: Comrades, the project was conceived during days and nights when we had to take cover in the mountains, We were often without ammunition for our half-dozen rifles, Even finding a pencil was difficult. (Applause from both sides.) OLD MAN, right: Our thanks to the Comrades of Kolkhoz “Galinsk” and all those who've defended our country! (They shake hands and embrace.) PEASANT WOMAN, left: In doing this our thought was that our soldiers—both your'men and our men— should retum to a still more productive homeland. GIRL ‘TRACTORIST: As the poet May said: “The home of the Soviet people shall also be the home of Reason”! The delegates excluding the OLD MAN have got up, and with the DELEGATE specified proceed to study the Agriculturist’s drawings, Exclamations such as: “Why is the altitude of fall 22 meters?”—“This rock vill have to be blown up”—“Actually, all they need is cement and ite” —"They force the water to come down here, that’s clever!” [AVERY YOUNG WORKER, right (fo OLD MAN, right): They're going to irrigate all the fields between the hills, look at that, Aleko! OLD MAN, right: I’m not going to look, I knew the project would be good. I won't have a pistol pointed at met DELEGATE: But they only want to point a pencil at you! Laughter. OLD MAN, right (gets up gloomily, and walks over to look at the drawings): These valley-thieves know only too well that we in this country are suckers for machines and projects.24 / Bertolt Brecht PEASANT WOMAN, right: Aleko Bereshwili, you have weakness for new projects. That's well known, DELEGATE: What about my report? May I write that will all support the cession of your old valley in interests of this project when you get back to y Kolkhoz? PEASANT WOMAN, right: I will. What about you, Aleko? OLD MAN, right (bent over drawings): I suggest that give us copies of the drawings to take along. PEASANT WOMAN, right: Then we can sit down and ‘Once he has the drawings and he’s ready to di them, the matter is settled. I know him, And it be the same with the rest of us. Delegates laughingly embrace again, OLD MAN, left: Long live the Kolkhoz “Rosa Luxem! and much luck to your horse-breeding project! PEASANT WOMAN, left: In honor of the visit of the gates from Kolkhoz “Rosa Luxemburg” and of Specialist, the plan is that we all hear a preses of the Singer Arkadi Tscheidse. Applause. GIRL. TRACTORIST has gone off to bring’ SINGER. PEASANT WOMAN, right: Comrades, your ent had better be good. It's going to cost us a valley. PEASANT WOMAN, left: Arkadi Tscheidse knows about discussion. He’s promised to perform something’ has a bearing on the problem. Karo: We wired Tiflis three times. The whole thing fell through at the last minute because his driver a cold, The Caucasian Chalk Circle / 25 PEASANT WOMAN, left: Arkadi Tscheidse knows 21,000 lines of verse, OL MAN, left: He's hard to get. You and the Planning Commission should persuade him to come north more often, Comrade, DELEGATE: We are more interested in economics, I'm afraid. ‘OLD MAN, left (smiling): You arrange the redistribution of vines and tractors, why not songs? Enter the SINGER Arkadi Tscheidse, led by GIRL ‘TRACTORIST. He is @ well-built man of simple man- ners, accompanied by FOUR MUSICIANS with their instruments. The artists are greeted with applause. GIRL TRACTORIST: This is the Comrade Specialist, Arkadi. The SINGER greets them all. DELEGATE: Honored to make your acquaintance. I heard about your songs when I was a boy at school. Will it be one of the old legends? sivcER: A very old one. It’s called “The Chalk Circle” and comes from the Chinese. But we'll do it, of course, in a changed version, Comrades, it's an honor for me to entertain you after a difficult debate. We hope you will find that the voice of the old poet also sounds well in the shadow of Soviet tractors. It may be a mistake to mix different wines, but old and new wisdom mix admirably. Now I hope we'll get some~ thing to eat before the performance begins—it would certainly help. voices: Surely. Everyone into the Club House! While everyone begins to move, DELEGATE turns 10 GIRL TRACTORIST.26 / Bertolt Brecht DELEGATE: J hope it won't take long. I've got to get tonight, GIRL TRACToRIST: How long will it last, Arkadi? Comrade Specialist must get back to Tiflis tonight, SINGER (casually): It’s actually two stories. An hour two. GIRL TRACTORIST (confidentially): Couldn't you make shorter? ‘SINGER: No, Voicr: Arkadi Tscheidse’s performance will take here in the square after the meal, ‘And they all go happily to eat, 1 THE NOBLE CHILD As the lights go up, the sINGER is seen sitting on the floor, a black sheepskin cloak round his shoulders, and a little, well-thumbed notebook in his hand. A small group of listeners—the chorus—sits with him. The manner of his recitation makes it clear that he has told his story over and over again, He mechanically fingers the pages, seldom looking at them. With appropriate gestures, he gives the signal for each scene to begin. SINGER: In olden times, in a bloody time, ‘There ruled in a Caucasian city— Men called it City of the Damned— A Governor. His name was Georgi Abashwili. He was rich as Croesus He had a beautiful wife He had a healthy baby. No other govemor in Grusinia Had so many horses in his stable So many beggars on his doorstep So many soldiers in his service So many petitioners in his courtyard. Georgi Abashwili—how shall I describe him to you? He enjoyed his life, On the morning of Easter Sunday ‘The Governor and his family went to church, At the left a large doorway, at the right an ever-larger 2728 / Bertolt Brecht ‘gateway, BEGGARS and PETITIONERS pour from gateway, holding up thin CHILDREN, crutches, petitions, They are followed by iRONSEIRTS, and expensively dressed, the GOVERNOR’s FAMILY. BEGGARS AND PETITIONERS: —Mercy! Mercy, Your Grace! The taxes are too —I lost my Jeg in the Persian War, where can get... —My brother is innocent, Your Grace, a misunder= standing . . —The child is starving in my arms! —Our petition is for our son’s discharge from army, our last remaining son! —Please, Your Grace, the water i Tie inspector takes coins from a purse. Soldiers push the crowd back, lashing at them with thick leather whips. SoLprER: Get back! Clear the church door! Behind the Governor, his WIFE, and the ADJUTANT, the GOVERNOR's CHILD is brought through the gateway in an ornate carriage. —The baby! —I can’t see it, don’t shove so hard! —God bless the child, Your Grace! SINGER (while the crowd is driven back with whips): For the first time on that Easter Sunday, the saw the Governor's heir, 4 ‘Two doctors never moved from the noble child, of the Governor's eye. ‘The Caucasian Chalk Circle 4 2 Even the mighty Prince Kazbeki bows before him at the church door, ‘The FAT PRINCE steps forwards and greets the FAMILY. FAT PRINCE: Happy Easter, Natella Abashwili! What a day! When it was raining last night, I thought to my- self, gloomy holidays! But this morning the sky was gay. I love a gay sky, a simple heart, Natclla Abash- wil. And litle Michael is a governor from head to foot! Tititil (He tickles the cuILD.) GOVERNOR’s WIFE: What do you think, Arsen, at last Georgi has decided to start building the cast wing. Alll those wretched slums are to be tom down to make room for the garden, FAT PRINCE: Good news after so much bad! What's the latest on the war, Brother Georgi? (The GOVERNOR indicates a lack of interest.) Strategical retreat, I hear, Well, minor reverses are to be expected. Some- times things go well, sometimes not. Such is war. Doesn't mean a thing, does it? GOVERNOR'S WIFE: He’s coughing. Georgi, did you hear? (She speaks sharply 10 the DOCTORS, two dignified men standing close to the little carriage.) He's coughing! FIRST DOCTOR (to the SECOND): May I remind you, Niko | Mikadze, that I was against the lukewarm bath? (To the GOVERNoR’s WiFE:) There’s been a little error over warming the bath water, Your Grace. SECOND DocToR (equally polite): Mika Loladze, I'm | afraid I can’t agree with you. The temperature of the bath water was exactly what our great, beloved Mishiko Oboladze prescribed, More likely a slight draft during the night, Your Grace.30 / Bertolt Brecht Govennor’s wire: But do pay more attention to him. Ho looks feverish, Georgi. Finst DocToR (bending over the cum): No cause for alarm, Your Grace. The bath water will be warmer. Tt won't occur again. ‘SECOND DOCTOR (with a venomous glance at the First): 1 won't forget that, my dear Mika Loladze. No cause for concern, Your Grace. FAT PRINCE: Well, well, welll I always say: “A pain in my liver? Then the doctor gets fifty strokes on the soles of his feet.” We live in a decadent age. In the old days one said: “Off with his head!” GOVERNOR'S WIFE: Let's go into church. Very likely it's the draft here. The procession of FAMILY and SERVANTS turns into the doorway. The vat PRince follows, but the GOV- ERNOR is kept back by the ADJUTANT, a handsome young man. When the crowd of PETITIONERS has been driven off, a young dust-stained npER, his arm in a sling, remains behind. ADJUTANT (pointing at the RIDER, who steps forward): Won't you hear the messenger from the capital, Your Excellency? He arrived this morning. With confiden- tial papers. GoveRNor: Not before Service, Shalva. But did you hear Brother Kazbeki wish me a happy Easter? Which is all very well, but I don’t believe it did rain last night, ADJUTANT (nodding): We must investigate, GovERNor: Yes, at once. Tomorrow. They pass through the doorway, The RIDER, who has waited in vain for an audience, turns sharply round and, muttering a curse, goes off. Only one of the ‘The Caucasian Chalk Circle / 31 palace guards—SIMON SHASHAVA—remains at the. de SINGER: The city is still. Pigeons strut in the church square, A soldier of the Palace Guard Is joking with a kitchen maid ‘Adah trace vp Sean tas claw boat A girl—GRUSHA VASHNADZE—comes through the gate- ‘way with a bundle made of large green leaves under her arm. smMON: What, the young lady is not in church? Shirking? GRUSHA: I was dressed to go. But they needed another ‘goose for the banquet. And they asked me to get it. ‘know about geese. SIMON: A goose? (He feigns suspicion.) Td like to see that goose. (GRUSHA does not understand.) One must be on one’s guard with women. “I only went for a Scag fy cl yo, be 8, os oon Pecans crusHa (walking resolutely toward him and showing him goose): There! If it isn’t a fifteen-pound goose stuffed full of com, I'l eat the feathers, SIMON: A queen of a goose! The Governor himself will cat it. So the young lady has been down to the river again? cRUSHA: Yes, at the poultry farm. Really? At the poultry farm, down by the river not higher up maybe? Near those willows? sim GrusHA: I only go to the willows to wash the linen,ore yt SIMON (insinuatingly): Exactly. rusia: Exactly what? SIMON (winking): Exactly that. causHa: Why shouldn’t I wash the linen by the willows SIMON (with exaggerated laughter): “Why shouldn't wash the linen by the willows!” That’s good, really good! rusua: I don’t understand the soldier. What's so about it? SIMON (slyly): “If something I know someone she'll grow hot and cold by turns!” GxusHa: I don’t know what I could learn about thc willows. Bertolt Brecht SIMON: Not even if there was a bush opposite? That could see everything from? Everything that goes there when a certain person is—“washing linen”? GRUSHA: What does go on? Won’t the soldier say wi hhe means and have done? SIMON: Something goes on, Something can be seen, GRUSHA: Could the soldier mean I dip my toes in the when it’s hot? There’s nothing else. SIMON: There’s more. Your toes, And more, GRUSHA: More what? At most my foot? SIMON: Your foot, And a little more, (He laughs heartily, rust (angrily): Simon Shashava, you ought to ashamed of yourself! To sit in a bush on a hot and wait tll a girl comes and dips her legs in the ri The Caucasian Chalk Circle = / 33 ‘And I bet you bring a friend along tool (She runs of.) ‘SIMON (shouting afier her): I didn’t bring any friend along! . As the SINGER resumes his tale, the SOLDIER steps into the doorway as though to listen 10 the service, ‘SINGER: The Governor's palace is at peace Bot why i e's foc? ‘And the Governor returned to his palace ‘And the fortress was a trap ‘And the goose was plucked and roasted But the goose was not eaten this time ‘And noon was no longer the hour to eat: ‘Noon was the hour to dic. From the doorway at the left the var Prince quickly ‘appears, stands still, looks around. Before the gateway at the right two TONSHIRTS are squatting and play= ing dice. The FAT PRINCE Sees them, walks slowly ast, making a sign to them, They rise: one goes through the guteway, the other goes off at the riht. Muffied voices are heard from various directions in the rear: “To your posts!” The palace is surrounded. The FAT PRINCE quickly goes off. Church bells in the distance. Enter, through the doorway, the Gover~ nor’s family and procession, returning from church, ovERNoR’s WIFE (passing the ADJUTANT): It's impossible to live in such a slum. But Georgi, of course, will only .build for his little Michael, Never for me! Michael is all! All for Michael! The procession turns into the gateway, Again the ApsuTANT lingers behind, He waits. Enter the34 / Bertolt Brecht wounded RIDER from the doorway. Two TRONSHIRTS of the Palace Guard have taken up positions by the gateway. ADJUTANT (fo the RIDER): The Governor does not wish to receive military news before dinner—especially, if it’s depressing, as I assume. In the afternoon His Excellency will confer with prominent architects, ‘They're coming to dinner too. And here they arel (Enter three gentlemen through the doorway.) Go to the kitchen and eat, my friend, (As the RIDER goes, the ADJUTANT greets the ARCHITECTS.) Gentlemen, His Excellency expects you at dinner. He will devote all his time to you and your great new plans, Comel ONE OF THE ARCHITECTS: We marvel that His Excellency intends to build. There are disquieting rumors that the war in Persia has taken a tum for the worse, ADJUTANT: All the more reason to build! There's nothing to those rumors anyway. Persia is a long way off, and the garrison here would let itself be hacked to bits for its Governor. (Noise from the palace. The shrill scream of a woman, Someone is shouting orders. Dumbjounded, the ADJUTANT moves toward the gate way, An IRONSHIRT steps out, points his lance at him.) What's this? Put down that lance, you dog. ONE OF THE ARCHITECTS: It's the Princes! Don’t you know the Princes met last night in the capital? And they're against the Grand Duke and his Governors? Gentle~ men, we'd better make ourselves scarce. (They rush off. The ADJUTANT remains helplessly behind.) ADJUTANT (furiously to the Palace Guard): Down with those lances! Don’t you see the Governor's life is threatened? The tronsuirts of the Palace Guard refuse to obey, SINGER: ‘The Caucasian Chalk Circle / 35 They stare coldly and indifferently at the ADJUTANT and follow the next events without interest. OBindoes of he geet ‘They go their way 3 Great over bent backs, Sare of hired fs ‘Trusting in the power Which has lasted so long. But long is not forever. © change from age to age! ‘Thou hope of the people! Enter the covsrNor, through the gateway, between two SOLDIERS armed to the teeth, He is in chains. His face is gray. ‘great sir, deign to walk upright! Fee rere pales the eyed soomy toce Ilo ec ‘And now you don't need an architect, a carpenter will do. ‘You won't be moving into a new palace But into a little hole in the ground. Look about you once more, blind man! The arrested man looks round, Does alll you had please you? Between the Easter Mass and the Baster meal ‘You are walking to a place whence no one returns. The GoveRNoR is led off. A horn sounds an alarm, Noise behind the gateway. ‘When the house of a great one collapses Many little ones are slain. ‘Those who hod no share in the good fortunes of the mighty36 | / Bertolt Brecht Often have a share in their misfortunes, ‘The plunging wagon Drags the sweating oxen down with it Into the abyss. The SERVANTS come rushing through the gateway in panic, SERVANTS (among themselves): —The baskets! —Take them all into the third courtyard! Food for five days! ite iiss ha fainted! Someone mmst cary hed wn, —She must get away. —What about us? We'll be slaughtered like chickens, as always, —Goodness, what'll happen? There’s bloodshed al- ready in the city, they say. —Nonsense, the Governor has just been asked to appear at a Princes’ meeting. All very correct. Every= thing’ll be ironed out, I heard this on the best authority . . . The two Doctors rush into the courtyard. FIRST DOCTOR (trying to restrain the other): Niko Mikadze, your duty as a doctor to attend Natella Abashwili, SECOND DocToR: My duty! It’s yours! FIRST Doctor: Whose tum is it to look after the child today, Niko Mikadze, yours or mine? SECOND Doctor: Do you really think, Mika Loladze, I'm going to stay a minute longer in this accursed house on that little brat’s account? (They start fighting. All one hears is: “You neglect your duty!” and “Duty, ‘The Caucasian Chalk Circle 4 31 my foot!” Then the SECOND DocTOR knocks the FIRST down.) Go to hell! (Exit.) Enter the soldier, SIMON SHASHAVA. He searches in the crowd for GRUSHA, SIMON: Grusha! There you are at last! What are you going to do? orusa: Nothing. If worst comes to worst, I've a brother in the mountains, How about you? simon: Forget about me. (Formally again:) Grusha Vash~ nadze, your wish to know my plans fills me with satisfaction, I've been ordered to accompany Madam Abashwili as her guard, crusHA: But hasn't the Palace Guard mutinied? sIMoN (seriously): That’s a fact. cRusHA: Isn't it dangerous fo go with her? SIMON: In Tiflis, they say: Isn't the stabbing dangerous for the knife? GRusHA: You're not a knife, you're a man, Simon Sha- shava, what has that woman to do with you? simon: That woman has nothing to do with me, I have my orders, and I go, USHA: The soldier is pigheaded: he is running into dan- ger for nothing—nothing at all. I must get into the third courtyard, I'm in a hurry. SIMON: Since we're both in a hurry we shouldn't quarrel. You need time for a good quarrel. May I ask if the young lady still has parents? GRUSHA: No, just a brother.38 / simon: As time is short—my second question is this: the young lady as healthy as a fish in water? GrusHA: I may have a pain in the right shoulder once a while. Otherwise I'm strong enough for my j ‘No one has complained. So far. Bertolt Brecht SIMON: That's well known, When it's Easter Sunday, the question arises who'll run for the goose all same, she'll be the one. My third question is this: the young lady impatient? Does she want apples winter? nusua: Impatient? No, But if a man goes to war wit any reason and then no message comes—that’s SIMON: A message will come, And now my final tion... GRUSHA: Simon Shashava, I must get to the third yard at once, My answer is yes. ston (very embarrased): Hasty they say i the, that blows down the scaffolding. But they also ‘The rich don’t know what haste is. I'm from . crusHA: Kutsk . SIMON: The young lady has been inquiring about me? —very sincerely—for your hand, GRUsHA: Simon Shashava, it suits me well. SIMON (taking from his neck a thin chain with a : My mother gave me this cross, ‘Vashnadze. The chain is silver, Please wear it, GRUsHA: Many thanks, Simon. ‘The Caucasian Chalk Circle 12 SIMON (hangs it round her neck): It would be better to go to the third courtyard now. Or there'll be difficul- ties. Anyway, I must hamess the horses. The young Jady will understand? GRusHA: Yes, Simon, They stand undecided. SIMON: T'll just take the mistress to the that have stayed loyal. When the war's over, I'l be back. In two weeks. Or three, I hope my intended won't got, tired, awaiting my retum, GRUSHA: ‘Simon Shashava, I shall wait for you, Go calmly into battle, soldier The bloody battle, the bitter battle From which not everyone returns: ‘When you return I shall be there. I shall’ be waiting for you under the green elm I shall be waiting for you under the bare elm I shall wait until the last soldier has returned And longer When you come back from the battle No boots will stand at my door The pillow beside mine will be empty And my mouth will be unkissed. When you return, when you return ‘You will be able to say: It is just as it was. simon: I thank you, Grusha Vashnadze. And good-bye! He bows low before her. She does the same before him. Then she runs quickly off without looking round, Enter the ADSUTANT from the gateway. apsuTanr (harshly): Harness the horses to the carriage! Don’t stand there doing nothing, scum!40 7 — Bertolt Brecht SIMON SHASHAVA stands to attention and goes women, stumbles NATELLA ABASHWILI. She is lowed by a WOMAN carrying the CHILD. Governor's Wire: I hardly know if my head's still Where’s Michael? Don’t -hold him so clumsily, the trunks onto the carriage, No news from the Shalva? It always starts in the Taking your time, ch? Go and get the hot bottles this minute! (GRUSHA runs off, returns with hot water bottles; the GOVERNOR’S WIFE her about by signs.) Don't tear the sleeves. GOVERNOR'S WIFE: Because I stopped you. I've been. ing you for a long time. Nothing in your head making eyes at Shalva Tzereteli. I'l kill you, Ditch! (She beats the YOUNG WOMAN.) ADJUTANT (appearing in the gateway): Please make ‘Natella Abashwili, Firing has broken out in the, (Exit.) ‘The Caucasian Chalk Circle / 41 GOVERNOR'S WIFE (letting go of the YOUNG WOMAN): Oh dear, do you think they'll lay hands on us? Why, should they? Why? (She herself begins to rummage in the trunks.) How's Michael? Asleep? WOMAN WITH THE CHILD: Yes, madam, GOVERNOR’s Wire: Then put him down a moment and get my little saffron-colored boots from the bedroom. I need them for the green dress. (The WOMAN puts down the cxtp and goes off.) Just look how these things have been packed! No love! No understanding! If you don’t give them every order yourself . . . At such moments you realize what kind of servants you have! They gorge themselves at your expense, and never a word of gratitude! P'll remember this. ADJUTANT (entering, very excited): Natella, you must Teave at once! GOVERNOR'S WIFE: Why? D've got to take this silver dress— it cost a thousand piasters. And that one there, and where's the wine-colored one? ADJUTANT (trying io pull her away): Riots have broken ‘out! We must leave at once. Where’s the baby? COVERNOR’S WIFE (calling 10 the YOUNG WOMAN who was holding the baby): Maro, get the baby ready! Where on earth are you? ADJUTANT (leaving): We'll probably have to leave the carriage behind and go ahead on horseback. The GOVERNOR'S WIFE rummages again among her dresses, throws some onto the heap of chosen clothes, then takes them off again. Noises, drums are heard. The YOUNG WOMAN who was beaten creeps away. The sky begins to grow red,42 7 ~— Bertolt Brecht Covanon’s WIFE (rummaging desperately): T simply can- wine-colored dre: pile not find the Take the whole pil to the carriage. Where's Asja? And why hasn't Maro come back? Have you all gone crazy? ADJUTANT (returning): Quick! Quick! GovERNor’s WIFE (to the FIRST WOMAN): Run! Just throw ‘them into the carriage! ADJUTANT: We're not taking the carriage. And if you don’t come now, I'l ride off on my own, GOVERNOR'S WIFE (as the FIRST WOMAN can’t carry every= thing): Where’s that bitch Asja? (The ADJUTANT pulls her away.) Maro, bring the baby! (To the FIRST WOMAN:) Go and look for Masha, No, first take the dresses to the carriage. Such nonsense! I wouldn't dream of going on horseback! Turning round, she sees the red sky, and starts back rigid, The fire burns. She is pulled out by the AD~ JUTANT. Shaking, the FIRST WOMAN follows with the dresses. Maro (from the doorway with the boots): Madam! (She sees the trunks and dresses and runs toward the CHILD, picks it up, and holds it a moment.) They left it behind, the beasts. (She hands it to Grussa.) Hold it a moment, (She runs off, following the GOVERNOR'S WIFE.) Enter SERVANTS from the gateway. CooK: Well, so they've actually gone, Without the food wagons, and not a minute too early, It’s time for us to clear out, Groom: This’ll be an unhealthy neighborhood for quite a while, (To one of the WOMEN: ) Suliko, take a few blankets and wait for me in the foal stables, ‘The Caucasian Chalk Circle 7 43 GRusHA: What have they done with the Governor? GROOM (gesturing throat cutting) : Fffiit. A FAT WOMAN (seeing the gesture and becoming hysteri- cal): Oh dear, oh dear, oh dear, oh dear! Our master Georgi Abashwilil A picture of health he was, at the moming Mass—and now! Oh, take me away, we're all lost, we must dic in sin like our master, Abashwilil OTHER WOMAN (soothing her): Calm down, Nina! You'll be taken to safety. You've never hurt a fly, FAT WOMAN (being led out): Oh deat, oh dear, oh dear! Quick! Let's all get out before they come, before they come! A YOUNG WOMAN: Nina takes it more to heart than the mistress, that’s a fact. They even have to have their weeping done for them. cooK: We'd better get out, all of us. ANOTHER WOMAN (glancing back): That must be the East Gate burning. YOUNG WOMAN (seeing the CHILD in GRUSHA’s arms). ‘The baby! What are you doing with it? RUSHA: It got left behind. YOUNG WOMAN: She simply left it there. Michael, who was Kept out of all the drafts! ‘The SERVANTS gather round the CHILD, orusaa: He’s waking up. room: Better put him down, I tell you. I'd rather not think what'd happen to anybody who was found with that baby.mY COOK: That's right. Once they get started, they'll Kill other off, whole families at a time. Let’s go. Exeunt all but GRUSHA, with the CHILD on her and TWO WOMEN. Two WomeN: Didn't you hear? Better put him down, GrusHA: The nurse asked me to hold him a moment, ‘OLDER WOMAN: She's not coming back, you simpleton, YOUNGER WOMAN: Keep your hands off it. OLDER WOMAN (amiably): Grusha, you're a good but you're not very bright, and you know it. I you, if he had the plague he couldn't be dangerous, Bertolt Brecht rusia (stubbornly): He hasn’t got the plague. He at me! He’s human! OLDER WOMAN: Don't look at him. You're a f kind that always gets put upon. A person need say, “Run for the salad, you have the longest legs, and you run. My husband has an ox cart—you come with us if you hurry! Lord, by now the wh neighborhood must be in flames. Both women leave, sighing. After some hesitatic GRUSHA puts the sleeping CHILD down, looks at it fo @ moment, then takes a brocade blanket from heap of clothes and covers it, Then both we return, dragging bundles, GRUSHA starts guiltily from the cuiLD and walks a jew steps to one sic YOUNGER WOMAN: Haven't you packed anything There isn’t much time, you know. The Ironshirts be here from the barracks. GRusHA: Coming! She runs through the doorway. Both women go to ‘The Caucasian Chalk Circle J 45 gateway and wait. The sound of horses is heard. They flee, screaming. Enter the FAT PRINCE with drunken IRONSEIRTS. One of them carries the Governor's head on a lance. FAT PRINCE: Here! In the middle! (One soldier climbs ‘onto the other's back, takes the head, holds it tenta- tively over the door.) That's not the middle, Farther to the right. That's it. What I do, my friends, I do well. (While with hammer and nail, the soldier fastens the head to the wall by its hair:) This morning at the church door J said to Georgi Abashwili: “I love a gay sky.” Actually, I prefer the lightning that comes piped a ig bid peery tetgiete by) ‘the brat along, though, I need him, urgently. Ext with moraumits through the gateway, Trampling of horses again, Enter GRUSHA through the doorway looking cautiously about her. Clearly she has waited for the monsumts to go. Carrying a bundle, she walks the when the SINGER starts to speak, She stands rooted to the spot. SINGER: ‘As she was standing between courtyard and gate, She heard of she thought she heard a low voice calling. “Woman,” it said, “help me.” And it went on, not whining, but saying quite sensibly: “Know, woman, he who hears not a cry for help But passes by with troubled ears will never hear The gentle call of a lover nor the blackbird at dawn €} ; 46 7 Bertolt Brecht Nor the happy sigh of the tired grape-picker as the Angelus rings.” She walks a few steps toward the cuu.D and bends over it, Becgineiile te, eat back foe onsen, i A ee Only till someone should come, - His mother, or anyone. Leaning on a trunk, she sits facing the CHILD. Only till she would have to leave, for the danger was too great, ‘The city was full of flame and crying. The light grows dimmer, as though evening and night were coming on. Fearful is the seductive power of goodness! GRUSHA now settles down to watch over the CHILD through the night. Once, she lights a small lamp to ook at it. Once, she tucks it in with a coat, From time 10 time she listens and looks to see whether someone is coming. ‘And she sat with the child a long time, Till evening came, till night came, till dawn came, She sat too long, too long she saw ‘The soft breathing, the small clenched fists, Till toward morning the seduction was complete And sh roe, and bent down and, sighing, took the And aoe it away. ‘She does what the SINGER says as he describes it, As if it was stolen goods she picked it up. ‘As if she was a thief she crept away. 2 THE FLIGHT INTO THE NORTHERN MOUNTAINS SINGER: ‘When Grusha Vashnadze left the city On the Grusinian highway On the way to the Northern Mountains She sang a song, she bought some milk, CHORUS: How will this human child escape trap-setters’ She sang a song, she bought some milk. GRUSHA VASHNADZE walks on. On her back she carries the CHILD in a sack, in one hand is a large stick, in the other a bundle. She sings. THE SONG OF THE FOUR GENERALS Four Set out for Iran, With the first one, war did not agree, ‘The second never won a victory. For the third the weather never was tight. For the fourth the men would never fight. Four ‘And not a single man! 4748 / Bertolt Brecht Sosso Robakidse Went marching to Tran With him the war did so agree He soon had won a victory. For him the weather was always right. For him the men would always fight, Sosso Robakidse, He is our man! A peasant’s cottage appears. GRUSHA (10 the cHLD): Noontime is meal time. Now ‘we'll sit hopefully in the grass, while the good Grusha goes and buys a little pitcher of milk. (She lays the CHILD down and knocks at the cottage door. An OLD ‘MAN opens it.) Grandfather, could I have a little pitcher of milk? And a com cake, maybe? OLD MAN: Milk? We have no milk, The soldiers from the city have our goats. Go to the soldiers if you want milk, GRUSHA: But grandfather, you must have a little pitcher of milk for a baby? ‘OLD MAN: And for a God-bless-you, ch? GRUSHA: Who said anything about a God-bless-you? (She shows her purse.) Welll pay like princes, “Head in the clouds, backside in the water.” (The peasant goes off, grumbling, jor mitk.) How much for the milk? ‘OLD MAN: Three piasters, Milk has gone up. GRusHA: Three piasters for this little drop? (Without a word the OLD MAN shuts the door in her face.) Michael, did you hear that? Three piasters! We can't afford it! (She goes back, sits down again, and gives the CHILD her breast.) ‘Suck. Think of the three piasters. There's nothing there, but you shink you're The Caucasian Chalk Circle / 49 drinking, and that’s something. (Shaking her head, she sees that the CHILD isn’t sucking any more. She gets up, walks back to the door, and knocks again.) Open, grandfather, we'll pay. (Softly.) May lightning strike you! (When the OLD MAN appears:) I thought it would bbe half a piaser. But the baby must be fed. How about one piaster for that little drop? OLD MAN: Two. GRusHA: Don’t shut the door again. (She fishes a long time in her bag.) Here are two piasters. The milk better be good. I still have two days’ journey ahead of me. It's a murderous business you have here—and sinful, too! ‘OLD MAN: Kill the soldiers if you want milk, GRUSHA (giving the CHILD some milk): This is an expen- sive joke. Take a sip, Michael, it's a week's pay. Around here they think we earned our money just sitting on our behinds. Oh, Michael, Michael, you're a nice little load for a girl to take on! (Uneasy, she gets up, puts the CHILD on her back, and walks on. The OLD MAN, grumbling, picks up the pitcher and looks after her unmoved.) SINGER: As Grusha Vashnadze went northward ‘The Princes’ Ironshirts went after her, cHoRUs: How will the barefoot girl escape the Ironshirts, The bloodhounds, the trap-setters? They hunt even by night, Pursuers never tire. Butchers sleep little. Two TRONSHIRTS are trudging along the highway.50 | Bertolt Brecht conPoraL: You'll never amount to anything, blockhead, your heart’s not in it. Your senior officer sees this in little things. Yesterday, when I made the fat gal, ‘yes, you grabbed her husband as I commanded, and you did kick him in the belly, at my request, but Gid you enjoy it, like a loyal Private, or were you just doing your duty? I've kept an eye on you block- head, you're a hollow reed and a tinkling cymbal, you won't get promoted. (They walk a while in silence.) Don't think F've how insubordinate you are, either. Stop limping! I forbid you to limp! You limp because I sold the horses, and I sold the horses be- cause I'd never have got that price again. You limp, to show me you don’t like marching. I know you, — It won't help. You wait. Sing! ‘Two moNsHIRTS (singing): Sadly to war I went my way Leaving my loved one at her door, ‘My friends will keep her honor safe Till from the war I'm back once more, CORPORAL: Louder! ‘TWO IRONSHIRTS (singing): When ‘neath a headstone I shall be My love a little earth will bring: “Here rest the feet that oft would run to me And here the arms that oft to me would cling.” They begin to walk again in silence. oRPoRAL: A good soldier has his heart and soul in it, When he receives an order, he gets a hard-on, and when he drives his lance into the enemy’s guts, he comes. (He shouts for jay.) He lets himself be tora to bits for his superior officer, and as he lies dying he takes note that his corporal is nodding approval, The Caucasian Chalk Circle = / 51 and that is reward enough, it's his dearest wish. You won't get any nod of approval, but you'll croak all right. Christ, how’m I to get my hands on the Gover- nor’s bastard with the help of a fool like you! (They stay on stage behind.) SINGER: When Grusha Vashnadze came to the River Sirra Flight grew too much for her, the helpless child too heavy. In the comfelds the rosy dawn Is cold to the sleepless one, only cold, The gay clatter of the milk cans in the farmyard where ‘the smoke rises Is only a threat to the fugitive, ‘She who carries the child feels its weight and little more. GRUSHA stops in front of a farm. A fat PEASANT WOMAN is carrying a milk can through the door. GRUSHA waits until she has gone in, then approaches the house cautiously, GRUSHA (to the CHILD): Now you've wet yourself again, and you know I've no linen. Michael, this is where we part company. It's far enough from the city. They wouldn't want you so much that they'd follow you all this way, iittle good-for-nothing. The peasant woman is kind, and can’t you just smell the milk? (She bends down to lay the CHILD on the threshold.) So farewell, Michael, I'l forget how you kicked me in the back all night to make me walk faster. And you can forget the meager fare—it was meant well. Td like to have kept you—your nose is so tiny— but it can’t be. I'd have shown you your first rabbit, Td have trained you to keep dry, but now I must tum around, My sweetheart the soldier might be back soon, and suppose he didn’t find me? You can’t ask— 52 / — Bertolt Brecht The Caucasian Chalk Circle / 53 that, can you? (She creeps up to the door and lays SINGE the CHILD on the threshold. Then, hiding behind a ‘And why so sad? tree, she waits until the PEASANT WOMAN opens the Horus: ; door and sees the bundle.) Because I’m single and free, I'm sad ‘ 7 ’s thi Like someone who's been robbed PEASANT WOMAN: Good sband ee ee ee Someone who's newly poor. ‘PEASANT: What is it? Let me finish my soup. She walks for a short while, then meets the two 1RON= ; PEASANT WOMAN (to the CHILD): Where's your mother SUIRTS who point their lances at her. then? Haven't you got one? It’s a boy. Fine linen. He's corporat: Lady, you are running straight into the arms from a good family, you can see that, And they just of the Armed Forces. Where are you coming from? leave him on our doorstep. Oh, these are times! And when? Are you having illicit relations with the enemy? Where is he hiding? What movements is he making in your rear? How about the hills? How about the valleys? How are your stockings held in position? PEASANT: If they think we're going to feed it, they're wrong, q You can take it to the priest in the village. That's the best we can do. (Grusta stands there frightened.) Don't be scared, j i B we always withdraw, if necessary . . . what, block- rasan won Whar the ahha him? He needs head? I always withdraw. In that respect at least, mother. There, ag up. Don’t you think we Micars bel salind 6 WK ‘ing like the could keep him, though? can be relied on. Why are you staring like that at my lance? In the field no soldier drops his lance, that’s PEASANT (shouting): Not 4 arule, Leam it by heart, blockhead. Now, lady, where : are you headed? f) Maparuer tenitia hee comecty Seeman Tone yin Son See te fields with me. See him laughing? Husband, we have rea A a roof over our heads. We can do it. Not another word. CORPORAL: Simon Shashava? Sure, I know him. He gave out of you! me the key so I could look you up once in a while. M ‘i Blockhead, we are getting to be unpopular. We must ‘She carries the cxttD into the house. The PEASANT make her realize we have honorable intentions. Lady, follows protesting. GRUSHA steps out from behind the behind apparent frivolity I conceal a serious nature, tree, laughs, and hurries off in the opposite direction, so let me tell you offically: I want a child from you. (oRUsHA utters a little scream.) Blockhead, she under- SINGER: Tt . stands me. Uh-huh, isn’t it a sweet shock? “Then first Brrr amaning foe poste I must take the noodles out of the oven, Officer. Then CHORUS: first [ must change my torn shirt, Colonel.” But away Because the child has won new parents with a laugh, with jokes, away with my lance! We are looking for a Because I'm rid of the little one, I'm cheerful.54 / Bertolt Brecht baby. A baby from a good family. Have you heard of such a baby, from the city, dressed in fine linen, and suddenly turning up here? . GRUSHA: No, I haven't heard a thing. (Suddenly she turns round and runs back, panic-stricken, The 1RONSHIRTS glance at each other, then follow her, cursing.) SINGER: Rum, kind girl! The killers are coming! Help the helpless babe, helpless girl! ‘And so she runs! conus: In the bloodiest times There are kind people, ‘As GRUSHA rushes into the cottage, the PEASANT WOMAN is bending over the CHILD’s crib. GRUSHA: Hide him. Quick! The Ironshirts are coming! I laid him on your doorstep. But he isn't mine. He’s from a good family. PEASANT WOMAN: Who's coming? What Ironshirts? GxusHA: Don’t ask questions, The Ironshirts that are look- ing for it. PEASANT WOMAN: They've no business in my house. But I must have a little talk with you, it seems. GRUSHA: Take off the fine linen, It'l give us away. PEASANT WOMAN: Linen, my foot! In this house I make the decisions! “You can’t vomit in my room!” Why did you abandon it? It's a sin, GRusHA (looking out of the window): Look, they're com- ing out from behind those trees! I shouldn’t have run away, it made them angry. Oh, what shall I do? PEASANT WOMAN (ooking out of the window and suddenly starting with fear): Gracious! Ironshirts! ‘The Caucasian Chalk Circle = / = 55 GRUSHA: They're after the baby. PEASANT WOMAN: Suppose they come in! GRUSHA: You mustn't give him to them, Say he’s yours, PEASANT WOMAN: Yes. GrusHA: They'll run him through if you hand him over. PEASANT WOMAN: But suppose they ask for it? The silver for the harvest is in the house. cRusHA: If you let them have him, they'll run him through, tight here in this room! You've got to say he's yours! PEASANT WOMAN: Yes. But what if they don’t believe me? crusHa: You must be firm, PEASANT WOMAN: They'll burn the roof over our heads. GRusHA: That's why you must say he’s yours. His name’s Michael. But I shouldn’t have told you. (The PEASANT ‘WOMAN rods.) Don’t nod like that. And don’t tremble —they'll notice, PEASANT WOMAN: Yes. Gausua: And stop saying yes, I can’t stand it. (She shakes the WOMAN.) Don’t you have any children? PEASANT WOMAN (muttering): He's in the war. RUSHA: Then maybe he’s an Ironshirt? Do you want him to run children through with a lance? You'd bawl him out. “No fooling with lances in my house!” you'd shout, “is that what I've reared you for? Wash your neck before you speak to your mother!” PEASANT WOMAN: That's true, he couldn't get away with anything around here! GRUSHA: So you'll say he’s yours?| 56 / ~~ Bertolt Brecht PEASANT WOMAN: Yes. GrusHa: Look! They're coming! There is a knocking at the door. The women don't answer. Enter 1RONSHIRTS. The PEASANT WOMAN bows low. ConPoraL: Well, here she is. What did I tell you? What a nose I have! I smelt her. Lady, I have a question for you. Why did you run away? What did you think I Would do to you? Til bet it was something unchaste ss GRUSHA (While the PEASANT WOMAN bows again and again.): Td left some milk on the stove, and I sud- denly remembered it. CORPORAL: Or maybe you imagined I looked at you unchastely? Like there could be something between us? A camal glance, know what I mean? GRUSHA: I didn’t see it, CORPORAL: But it’s possible, huh? You admit that much, After all, I might be a pig. I'll be frank with you: I could think of all sorts of things if we were alone, (To the PEASANT WOMAN:) Shouldn't you be busy in the yard? Feeding the hens? PEASANT WOMAN (falling suddenly to her knees): Soldier, I didn’t know a thing about it. Please don’t burn the roof over our heads, CorPoRaL: What are you talking about? PEASANT WOMAN: I had nothing to do with it, She left it ‘on my doorstep, I swear it! ‘CORPORAL (suddenly seeing the CHILD and whistling): Ah, so there’s a little something in the crib! Blockhead, I smell a thousand piasters. Take the old girl outside ‘The Caucasian Chalk Circle and hold on to her. It looks tike I have a little cross- examining to do. (The PEASANT WOMAN lets herself be led out by the PRIVATE, without a word.) So, you've got the child I wanted from you! (He walks toward the crib.) GRUSHA: Officer, he's mine, He’s not the one you're after. CORPORAL: I'll just take a look. (He bends over the crib.) v6 cxusna looks round in despair, GRUsHA: He’s mine! He’s mine! corPorAL: Fine liren! oRusHA dashes at him to pull him away. He throws her off and again bends over the crib. Again looking round in despair, she sees a log of wood, seizes it, and hits the CORPORAL over the head from behind. The CORPORAL collapses. She quickly picks up the cui. and rushes off. SINGER: ‘And in her flight from the Tronshirts After twenty-two days of journeying At the foot of the Janga-Tau Glacier Grusha Vashnadze decided to adopt the child, cuorus: The helpless gitl adopted the helpless child, GRUSHA squats over a half-frozen stream to get the CHILD water in the hollow of her hand. GRUSHA: Since no one else will take you, son, I must take you. Since no one else will take you, son, ‘You must take me. O black day in a lean, lean year,58] Bertolt Brecht The trip was long, the milk was dear, My legs are tired, my feet are sore: But I wouldn't be without you any more, Till throw your silken shirt away And wrap you in rags and tatters, Till wash you, son, and christen you in glacier water. We'll sce it through together. She has taken off the child's fine linen and wrapped it in a rag. SINGER: ‘When Grusha Vashnadze Pursued by the Ironshirts ‘Came to the bridge on the glacier Leading to the villages of the Eastern Slope She sang the Song of the Rotten Bridge And risked two lives. A wind has risen, The bridge on the glacier is visible in the dark. One rope is broken and half the bridge is hanging down the abyss. MERCHANTS, two men and. @ woman, stand undecided before the bridge as GRUSHA and the CHILD arrive. One man is trying to Catch the hanging rope with a stick. First MAN: Take your time, young woman. You won't get across here anyway. GRUSHA: But I have to get the baby to the east side. To my brother’s place. ‘MERCHANT WOMAN: Have to? How d’you mean, “have to”? Ihave to get there, too—because I have to buy carpets in Atum—carpets a woman had to sell because her husband had to die, But can I do what I have to? Can she? Andrei’s been fishing for that rope for hours, ‘And I ask you, how are we going to fasten it, even if he gets it up? FIRST MAN (listening): Hush, I think I hear something, ‘The Caucasian Chalk Circle 7 59 GRusHA: The bridge isn’t quite rotted through. I think Til try it, MERCHANT WOMAN: I wouldn’t—if the devil himself were after me. It’s suicide. FIRST MAN (shouting): Hil GRusHA: Don't shout! (To the MERCHANT WOMAN:) Tell him not to shout, FIRST MAN: But there’s someone down there calling. Maybe they've lost their way. MERCHANT WOMAN: Why shouldn't he shout? Is there something funny about you? Are they after you? GRUSHA: All right, ['ll tell. The Ironshirts are after me, I knocked one down. SECOND MAN: Hide our merchandise! The WOMAN hides a sack behind a rock, Finst MAN: Why didn’t you say so right away? (To the others:) If they catch her they'll make mincemeat out of her! cRUsHA: Get out of my way. I've got to cross that bridge. SECOND MAN: You can't, The precipice is two thousand feet deep. rinst MAN: Even with the rope it'd be no use. We could hold it up with our hands. But then we'd have to do the same for the Ironshirts. Rusa: Go away. There are calls from the distance: “Hi, up there!” MERCHANT WOMAN: They're getting near. But you can’t take the child on that bridge. It’s sure to break. And look! rusia looks down into the abyss. The IRONSHIRTS are heard calling again. from below.pa Bertolt Brecht SECOND MAN: Two thousand feet! ‘GusHA: But those men are worse, FIRST MAN: You can't do it, Think of the baby. Risk your life but not a child's. ‘SECOND MAN: With the child she’s that much heavier! MERCHANT WOMAN: Maybe she’s really got to get across. Give me the baby. I'll hide it, Cross the bridge alone! Grusua: I won't, We belong together, (To the cHILD:) “Live together, die together.” (She sings.) THE SONG OF THE ROTTEN BRIDGE Deep is the abyss, son, Issee the weak bridge sway But it’s not for us, son, To choose the way. ‘The way I know Is the one you must tread, And all you will eat Is my bit of bread. Of every four pieces You shall have three, Would that I knew How big they will be! Get out of my way, Pll try it without the rope. MERCHANT WOMAN: You are tempting God! There are shouts from below. GRUSHA: Please, throw that stick away, or they'll get the rope and follow me. (Pressing the CHILD 10 her, she steps onto the swaying bridge. The MERCHANT WOMAN screams when it looks as though the bridge is about ‘The Caucasian Chalk Circle / 61 to collapse. But cxusta walks on and reaches the far side.) FIRST MAN: She made it! MERCHANT WOMAN (who has fallen on her knees and begun to pray, angrily): 1 still think it was a sin. ‘The YRONSHIRTS appear; the CoRPORAL's head is bandaged. CORPORAL: Seen a woman with a child? FIRST MAN (while the SECOND MAN throws the stick into the abyss): Yes, there! But the bridge won't carry you! ‘conporaL: You'll pay for this, blockhead! GRUSHA, from the far bank, laughs and shows the CHILD fo the TRONSHIRTS. She walks on. The wind blows. GRUSHA (turning to the curb): You mustn't be afraid of the wind, He’s « poor thing too. He has to push the clouds along and he gets quite cold doing it. (Snow starts falling.) And the snow isn't so bad, either, Michael. It covers the little fir trees so they won't die in winter, Let me sing you a little song. (She sings.) THE SONG OF THE CHILD Your father is a bandit A harlot the mother who bore you. Yet honorable men Shall kneel down before you, Food to the baby horses The tiger’s son will take. The mothers will get milk From the son of the snake,3 IN THE NORTHERN MOUNTAINS SINGER: Seven days the sister, Grusha Vashnadze, Journeyed across the glacier ‘And down the slopes she journeyed, “When I enter my brother’s house,” she thought, “He will rise and embrace me.” “Is that you, sister?” he will say, “I have long expected you, This is my dear wife, And this is my farm, come to me by marriage, With eleven horses and thirty-one cows. Sit down, Sit down with your child at our table and eat.” ‘The brother's house was in a lovely valley. When the sister came to the brother, She was ill from walking. The brother rose from the table, A fat peasant couple rise from the table. LAVREN: VASHNADZE still has a napkin round his neck, Grusua, pale and supported by a SERVANT, enters wit the CHILD. LAVRENTI: Where've you come from, Grusha? Grusua (feebly): Across the Janga-Tu Pass, Lavrenti, SERVANT: I found her in front of the hay barn, She has baby with her. SISTER-IN-LAW: Go and groom the mare, 62 ‘The Caucasian Chalk Circle / 63 Exit the SERVANT. TAVRENTI: This is my wife Aniko, SISTER-IN-LAW: I thought you were in service in Nuka, orusta (barely able to stand): Yes, I was. SISTER-IN-LAW: Wast't it a good job? We were told it was. usa: The Governor got killed. LAVRENTI: Yes, we heard there were riots. Your aunt told us, Remember, Aniko? SISTER-IN-LAW: Here with us, it’s very quiet. City people always want something going on. (She walks toward the door, calling:) Sosso, Soss0, don't take the cake out of the oven yet, d'you hear? Where on earth are you? (Exit, calling.) LAVRENTE (quietly, quickly): Is there a father? (As she shakes her head:) 1 thought not, We must think up something. She's religious. SISTER-IN-LAW (returning): Those servants! (To GRUSHA:) ‘You have a chiki. GausHA: It's mine. (She collapses. LAVRENTI rushes to her assistance.) SISTER-IN-LAW: Heavens, she’s ill—what are we going to do? LAVRENTI (escorting her to a bench near the stove): Sit down, sit, I think it’s just weakness, Aniko, SISTERAN-LAW: As long as it's not scarlet fever! LAVRENTH: She'd have spots if it was. It's only weakness. Don't worry, Aniko, (To GRUsHA:) Better, down? SISTER-IN-LAW: Is the child hers?Ce 7, crusHa: Yes, mine, LAVRENTI: She’s on her way to her husband, SISTER-IN-LAW: I see. Your meat’s getting getting (Lavnentt sits down and begins 10 eat.) Cold f Bot good for you, the fat mustn’t get cold, you kn your stomach’s your weak spot. (To GRUSHA:) your husband's not in the city, where is he? LAVRENTI: She got married on the other side of mountain, she says. SISTER-IN-LAW: On the other side of the mountain, I (She also sits down to eat,) ousta: I think I should lie down somewhere, Lavrent SISTER-IN-LAW: If it's consumption we'll all get it. (Si goes on cross-examining her.) Has your husband a farm? GRUSHA: He’s a soldier, LAVRENTI: But he’s coming into a farm—a small from his father. SISTER-IN-LAW: Isn’t he in the war? Why not? GRUSHA (with effort): Yes, he’s in the war. SISTER-IN-LAW: Then why d'you want to go to the LAVRENTI: When he comes back from the war, he'll to his farm. SISTER-IN-LAW: But you're going there now? LAVRENTI: Yes, to wait for him. SISTER-IN-LAW (calling shrilly): Sosso, the cake! Bertolt Brecht GRUSHA (murmuring feverishly): A farm—a soldier- ‘ing—sit down, eat, ‘The Caucasian Chalk Circle / 65 SISTER-IN-LAW: It’s scarlet fever. GRUSHA (starting up): Yes, he’s got a farm! LAVRENTI: I think it's just weakness, Aniko. Would you look after the cake yourself, dear? SISTER-IN-LAW: But when will he come back if war's broken out again as people say? (She waddles off, shouting:) Sosso! Where on earth are you? Sosso! LAVRENTI: (getting up quickly and going to GRUSHA): You'll get a ted in a minute. She has a good heart, But wait till after supper. rusua (holding out the cum. to him): Take him. LAVRENTI (taking it and looking around): But you can’t stay here long with the child. She’s religious, you see, ‘@xusna collapses. LAVRENTI catches her. SINGER: The sister was so ill, The cowardly brother had to give her shelter, Summer departed, winter came. The winter was long, the winter was short, People mustn't know anything. Rats mustn't bite. - Spring mustn't come. GRUSHA sits over the weaving loom in a workroom. She and the cui, who is squatting on the floor, are wrapped in blankets. She sings. THE SONG OF THE CENTER And the lover started to leave And his betrothed ran pleading after him Pleading and weeping, weeping and teaching: “Dearest mine, dearest mine66 / Bertolt Brecht ‘When you go to war as now you do When you fight the foe as soon you will Don’t lead with the front line And don’t push with the rear line At the front is red fire In the rear is red smoke Stay in the war's center Stay near the standard bearer The first always dic The last are also hit Those in the center come home.” Michael, we must be clever. If we make ourselves as small as cockroaches, the sister-in-law will forget we're iin the house, and then we can stay till the snow melts. Enter Laveenti. He sit down beside his sister, LAvRENTI: Why are you sitting there muffled up like coach~ men, you two? is it too cold in the room? Grusua (hastily removing one shawl): It’s not too cold, Lavrenti. LAVRENTI: If it’s too cold, you shouldn't be sitting here with the child, Aniko would never forgive herselfl (Pause.) I hope our priest didn’t question you about the child? Gxustia: He did, but I didn’t tell him anything. LAVRENTI: That’s good. I wanted to speak to you about Aniko, She has a good heart but she’s very, very sensitive. People need only mention our farm and she’s worried. She takes everything hard, you see. One time our milkmaid went to church with a hole in her stocking. Ever since, Aniko has wom two pairs of stockings in church. It’s the old family in her, (He listens.) Are you sure there are no rats around? If there are rats, you couldn't live here. (There are ‘The Caucasian Chalk Circle / 67 sounds as of dripping from the roof.) What’s that, dipping? GrusHA: It must be a barrel leaking. LAVRENTI: Yes, it must be a barrel. You've been here six months, haven't you? Was I talking about Aniko? (They listen again to the snow melting.) You can't imagine how worried she gets about your soldier husband, “Suppose he comes back and can’t find her!” she says and lies awake. “He can’t come before the spring,” I tell her. The dear woman! (The drops begin to fall faster.) When d’you think he'll come? What do you think? (GRusHA is silent.) Not before the spring, you agree? (GRUSHA is silent.) You don't believe he'll come at all? (Grusti is silent.) But when, the spring comes and the snow melts here and on the passes, you can’t stay on. They may come and look, for you. There’s already talk of an illegitimate child. (The “glockenspiel” of the jalling drops has grown faster and steadier.) Grusha, the snow is melting on the roof, Spring is here. rusaa: Yes. LAVRENTI (eagerly): Pll tell you what we'll do, You need a place to go, and, because of the child (he sighs), you have to have a husband, so people won't talk. Now I've made cautious inquiries to see if we can find you a husband, Grusha, I have one. I talked to a peasant woman who has a son. Just the other side of the mountain, A small farm. And she’s willing. ousHA: But I can’t marry! I must wait for Simon Sha- shava, LAVRENTH: Of course, That’s all been taken care of. You don’t need a man in bed—you need a man on paper. And T've found you one. The son of this peasant woman is going to die, Isn't that wonderful? He's at68 / Bertolt Brecht his last gasp. And all in line with our story—a ht band from the other side of the mountain! And wh you met him he was at the last gasp, So you're widow. What do you say? GRUSHA: It’s true I could use a document with stamps it for Michael. LAVRENTI: Stamps make all the difference, Without sor thing in writing the Shah couldn’t prove he’s a SI ‘And you'll have a place to live. GrusHA: How much does the peasant woman want? LAVRENTI: Four hundred piasters. GRUSHA: Where will you find it? LAVRENTI (guiltily): Aniko’s milk money. GRUSHA: No one would know us there. I'l do it. LAVRENTI (getting up): I'll let the peasant woman Quick exit, GRUSHIA: Michael, you make a lot of work. I came by as the pear tree comes by sparrows. And a Christian bends down and picks up a crust of so nothing will go to waste. Michael, it would. been better had I walked quickly away on that Sunday in Nuka in the second courtyard, am a fool. SINGER: The bridegroom was on his ‘deathbed when the arrived. The bridegroom’s mother was waiting at the telling her to hurry. The bride brought a child along. The witness hid it during the wedding. ‘The Caucasian Chalk Circle / 69 On one side the bed, Under the mosquito net lies a very sick man. GRUSHA is pulled in at a run by her future mother-in-law. They are followed by LAVRENTI and the cum, MOTHER-IN-LAW: Quick! Quick! Or he'll die on us before the wedding. (To LAvRENTI:) I was never told she had a child already. LAVRENTI: What difference does it make? (Pointing toward the dying man.) It can’t matter to him—in his con- dition. MOTHER-IN-LAW: To him? But I'll never survive the shame! We are honest people, (She begins to weep.) My Jussup doesn’t have to marry a girl with a child! LAVRENTI: Al right, make it another two hundred piasters. You'll have it in writing that the farm will go to you: but she'll have the right to live here for two years, MOTHER-IN-LAW (drying her tears): It'll hardly cover the funeral expenses. I hope she'll really lend a hand with the work. And what’s happened to the monk? He must have slipped out through the kitchen window, ‘We'll have the whole village on our necks when they hear Jussup’s end is come! Oh dear! I'll go get the monk, But he mustn’t see the child! LAVRENT!: I'll take care he doesn’t. But why only a monk? Why not a priest? MOTHER-IN-LAW: Oh, he’s just as good. I only made one mistake: I paid half his fee in advance. Enough to send him to the tavern. I only hope . .. (She runs off.) LAVRENTI: She saved on the priest, the wretch! Hired a cheap monk, usa: You will send Simon Shashava to see me if he tums up after all?70 / Bertolt Brecht LAVRENTI: Yes. (Pointing at the SICK PEASANT.) Won't you take a look at him? (GRusHA, taking MICHAEL to her, shakes her head.) He’s not moving an eyelid. Thope we aren’t too late. They listen. On the opposite side enter neighbors who Took around and take up positions against the walls, thus forming another wall near the bed, yet leaving an ‘opening so that the bed can be seen. They start mure muring prayers. Enter the MOTHER-IN-LAW with @ MONK. Showing some annoyance and surprise, she bows to the guests. MOTHER-IN-LAW: I hope you won't mind waiting a few moments? My son’s bride has just arrived from the city. An emergency wedding is about to be cele brated. (To the MONK in the bedroom:) I might have known you couldn’t keep your trap shut, (To GRUSHA:) The wedding can take place at once. Here’s the license. Me and the bride’s brother (LAVRENTI tries to hide in the background, after having quietly taken MICHAEL back from GRUSHA, The MOTHER-IN-LAW waves him away.) are the witnesses, GRUSHA has bowed to the MONK. They go to the bed. The MOTHER-IN-LAW lifts the mosquito net. The MONK starts reeling off the marriage ceremony in Latin, Meanwhile the MOTHER-IN-LAW beckons to LAVRENTL to get rid of the CHILD, but fearing that it will cry he draws its attention to the ceremony, GRUSHA glances once at the CHILD, and LAVRENTI Waves the CHILD's hand in a greeting, MONK: Are you prepared to be a faithful, obedient, and good wife to this man, and to cleave to him until death you do part? rusHa (looking at the CHILD): I am. ‘The Caucasian Chalk Circle / 71 MONK (10 the SICK PEASANT): Are you prepared to be a good and loving husband to your wife until death you do part? (As the SICK PEASANT does not answer, the ‘MONK looks inguiringly around.) MOTHER-IN-LAW: Of course he is! Didn't you hear him say yes? MONK: All right, We declare the marriage contracted! How about extreme unction? ‘MOTHER-IN-LAW: Nothing doing! The wedding cost quite enough. Now I must take care of the moumers. (To Lavaenti:) Did we say seven hundred? LAVRENTI: Six hundred. (He pays.) Now I don’t want to sit with the guests and get to know people. So farewell, Grusha, and if my widowed sister comes to visit me, she'll get a welcome from my wife, or Fil show my teeth. (Nods, gives the CHILD 10 GRUSHA, and leaves, The mourners glance after him without interest.) ‘MONK: May one ask where this child comes from? ‘MOTHER-IN-LAW: Is there a child? I don't see a child. And you don't see a child cither—you understand? Or it’ may tum out I saw all sorts of things in the tavern! Now come on, After GRUSHA has put the cat. down and told him to be quiet, they move over left, GRUSHA is introduced to the neighbors. ‘This is my daughter-in-law. She arrived just in time to find dear Jussup still alive. ‘ONE WOMAN: He's been ill now a whole year, hasn’t he? When our Vassili was drafted he was there to say good-bye.72 =| Bertolt Brecht ANOTHER WOMAN: Such things are terrible for a farm. The corn all ripe and the farmer in bed! It'll really be a blessing if he doesn’t suffer too long, 1 say. FIRST WOMAN (confidentially): You know why we thought he'd taken to his bed? Because of the draft! And now his end is come! MOTHER-IN-LAW: Sit yourselves down, please! And have some cakes! She beckons 10 GRUSHA and both women go into the bedroom, where they pick up the cake pans off the floor. The guests, among them the MONK, sit on the, floor and begin conversing in subdued voices. ONE PEASANT (fo whom the MONK has handed the bottle which he has taken from his soutane): There's @ child, you say! How can that have happened to Jussup?, AWOMAN: She was certainly lucky to get herself marr with him so sick! MOTHER-IN-LAW: They're gossiping already. And wol down the funeral cakes at the same time! If he dic today, I'l have to bake some more tomorrow! GrusHa: I'l bake them for you. MOTHER-IN-LAW: Yesterday some horsemen rode ‘and I went out to see who it was. When I came again he was lying there like a corpse! So I sent you. It can’t take much longer. (She listens.) MONK: Dear wedding and funeral guests! Deeply we stand before a bed of death and marriage. bride gets a veil; the groom, a shroud: how ¥: my children, are the fates of men! Alas! One man di and has a roof over his head, and the other is mé and the flesh turns to dust from which it was m Amen, ‘The Caucasian Chalk Circle = / 73 MOTHER-IN-LAW: He's getting his own back. I shouldn't have hired such a cheap one. It's what you'd expect. A more expensive monk would behave himself. In Sura there’s one with a real air of sanctity about him, but of course he charges a fortune. A fifty piaster monk like that has no dignity, and as for piety, just fifty piasters’ worth and no more! When I came to get him in the tavern he'd just made a speech, and he was shouting: “The war is over, beware of the peace!” We must go in, GRUSHA (giving MICHAEL @ cake): Eat this cake, and keep nice and still, Michael, The two women offer cakes to the guests. The dying ‘man sits up in bed. He puts his head out from under the mosquito net, stares at the two women, then sinks back again, The MONK takes two bottles from his soutane and offers them to the peasant beside him, Enter three MUSICIANS who are greeted with a sly wink by the MONK. MOTHER-IN-LAW (to the MUSICIANS): What are you doing here? With instruments? ONE MUSICIAN: Brother Anastasius here (pointing at the MONK) told us there was a wedding on. MOTHER-IN-LAW: What? You brought them? Three more ‘on my neck! Don’t you know there’s a dying man in the next room? MoNK: A very tempting assignment for a musician: some- thing that could be either a subdued Wedding March or a spirited Funeral Dance. MOTHER-IN-LAW: Well, you might as well play. Nobody ‘can stop you eating in any case. The musicians play a potpourri, The women serve cakes,74 | __ Bertolt Brecht ae The trumpet sounds like a whining baby. ou, little drum, what have you got to tell the worl DRUNKEN PEASANT (beside the MONK, sings): ‘The MOTHER-IN-LAW throws the DRUNKEN PE! out, The music stops. The guests are embarrassed. Guests (loudly): —In any case, the war's over, so our soldiers are) coming back. Rusa drops a cake pan, cuests help her pick up, the cake. AN OLD WOMAN (to GRUSHA): Are you feeling bad? It's just excitement about dear Jussup. Sit down and rest a while, my dear. (GRUSHA staggers.) Guests: Now everything’ll be the way it was. Only the taxes'll go up because now we'll have to pay for the war, GRUSHA (weakly): Did someone say the soldiers are back? aN: I did, ‘The Caucasian Chalk Circle / 5 GRUSHA: It can’t be true. FIRST MAN (fo a woman): Show her the shawl. We bought it from a soldier. It’s from Persia, rusua (looking at the shawl): They are here. (She gets up, takes a step, kneels down in prayer, takes the silver cross and chain out of her blouse, and kisses it.) MOTHER-IN-LAW (while the guests silently watch GRUSHA): ‘What's the matter with you? Aren’t you going to look after our guests? What's all this city nonsense got to do with us? Guests (resuming conversation while GRUSHA remains in prayer): —You can buy Persian saddles from the soldiers too, ‘Though many want crutches in exchange for them, —The leaders on one side can win a war, the soldiers on both sides lose it —Anyway, the war's over. It’s something they can’t draft you any more, The dying man sits bolt upright in bed. He listens, —What we need is two weeks of good weather. —Our pear trees are hardly bearing a thing this year. ‘MOTHER-IN-LAW (offering cakes): Have some more cakes and welcome! There are more! The MOTHER-IN-LAW goes 10 the bedroom with the empty cake pans. Unaware of the dying man, she is bending down to pick up another tray when he begins to talk in a hoarse voice. Bie PEASANT: How many more cakes are you going to stuff down their throats? D'you think I can shit money? The MOTHER-IN-LAW starts, stares at him aghast, while he climbs out from behind the mosquito net.76 / Bertolt Brecht First WoMAN (talking kindly to GRUSHA in the next room) ‘Has the young wife got someone at the front? A MAN: It’s good news that they're on their way huh? PEASANT: Don’t stare at me like that! Where’s this wif you've saddled me with? Receiving no answer, he climbs out of bed and his nightshirt staggers into the other room. Trembling, she follows him with the cake pan, Guests (seeing him and shrieking): Good God! Jussupt Everyone leaps up in alarm. The women rush to the door. GRuSHA, still on her knees, turns round and stares at the man. upset the apple cart, huh? (Receiving no answer, he, turns round and takes a cake from the pan which his mother is holding.) SINGER: © confusion! The wife discovers she has a husband, By day there’s the child, by night there’s the ht The lover is on his way both day and night. Husband and wife look at each other. The bedroom is small. Near the bed the PEASANT is sitting in a high wooden bathtub, naked, the MOTHER-IN-LAW is pouring from a pitcher. Opposite GRUSHA cowers with MICHAEL, who is playing at mending straw mats. PEASANT (to his mother): That's her work, not yours, Where's she hiding out now? The Caucasian Chalk Circle = / 77 MOTHER-IN-LAW (calling): Grusha! The peasant wants yout GRUSHA (fo MICHAEL): There are still two holes to mend. PEASANT (when GRUSEA approaches): Scrub my back! xvsHA: Can't the peasant do it himself? PEASANT: “Can't the peasant do it himself?” Get the brush! To hell with you! Are you the wife here? Or are you a visitor? (To the MOTHER-IN-LAW:) It’s too cold! MOTHER-IN-LAW: I'll run for hot water. cavsHA: Let me go. PEASANT: You stay here, (The MOTHER-IN-LAW exits.) Rub harder, And no shirking. You've seen a naked * fellow before, That child didn't come out of thin air, USHA: The child was not conceived in joy, if that’s what the peasant means, PEASANT (turning and grinning): You don’t look the type. (GRusHA stops scrubbing him, starts back, Enter the MOTHER-IN-LAW.) PEASANT: A nice thing you've saddled me with! A simple- ton for a wifet MOTHER-IN-LAW: She just isn’t cooperative, PEASANT: Pour—but go easy! Ow! Go easy, I said. (To GRUSHA:) Maybe you did something wrong in the city . . . I wouldn’t be surprised. Why else should you be here? But I won't talk about that. I've not said a word about the illegitimate object you brought into my house either. But my patience has limits! It's against nature, (To the MOTHER-IN-LAW:) Morel (To GrusHa:) And even if your soldier does come back, you're married,78 / Bertolt Brecht rusHa: Yes. PEASANT: But your soldier won’t come back, Don’t believe it, 4 onusua: No. PEASANT: You're cheating me. You're my wife and not my wife. Where you lie, nothing lies, and yet other woman can lic there. When I go to work the morning Pm tired—when I lic down at night awake as the devil. God has given you sex what d’you do? I don’t have ten piasters to buy myse a woman in the city. Besides, it's a long way. We weeds the fields and opens up her legs, that’s ‘our calendar says. D’you hear? Gauss (quietly): Yes. I didn’t mean to cheat you of it, PEASANT: She didn’t mean to cheat me out of it! some more water! (The MOTHER-IN-LAW pours.) SINGER: ‘As she sat by the stream to wash the linen She saw his image in the water And his face grew dimmer with the passing moons, ‘As she raised herself to wring the linen She heard his voice from the murmuring maple And his voice grew fainter with the passing moons, Evasions and sighs grew more numerous, Tears and sweat flowed. With the passing moons the éhild grew up. GRUSHA sits by a stream, dipping linen into the In the rear, a jew children are standing. xusHa (fo MICHAEL): You can play with them, Mich: but don't let them boss you around just because you! ‘The Caucasian Chalk Circle / 79 the littlest. (MIcHAEL nods and joins the children. They start playing.) BIGGEST Box: Today it's the Heads-Off Game. (To a FAT Governor's wife comes last. The They form a procession. The FAT Boy is first and laughs, Then comes MICHAEL, then the BIGGEST BOY, and then the GIRL, who weeps. MICHAEL (standing still): Me cut off head! niGEsT poy: The’s my job. You're the littlest. The Governor’s the easy part. All you do is kneel down and get your head cut off—simple, MICHAEL: Me want sword! BIGGEST BOY: It's mine! (He gives MICHAEL a kick.) cuRE (shouting to crusHA): He won't play his part! crusHa (laughing): Even the little duck is a swimmer, they say. BIGGEST Boy: You can be the Prince if you can laugh, (QmcHAEL shakes his head.) FAT Boy: I laugh best. Let him cut off the head just once. ‘Then you do it, then me. Reluctantly, the iccrst Boy hands MICHAEL the wooden sword and kneels down. The PAT BOY sits down, slaps his thigh, and laughs with all his might, The GrRt. weeps loudly. MICHAEL swings the big sword and “cuts off” the head. In doing 50, he topples over,80 / Bertolt Brecht BIGGEST BOY: Hey! I’ll show you how to cut heads off! MICHAEL runs away. The children run after him, GRUSHA laughs, following them with her eyes. On Tooking back, she sees SIMON SHASHAVA standing on the opposite bank. He wears a shabby uniform, GausuA: Simon! smmon: Is that Grusha Vashnadze? ‘@RusHA: Simon! ‘SIMON (formally): A good morning to the young lady. hope she is well. GRUSHA (getting up gaily and bowing low): A good morn- ing to the soldier, God be thanked he has returned in good health. SIMON: They found better fish, so they didn't eat me, said the haddock. GRUSHA: Courage, said the kitchen boy. Good luck, said the hero. SIMON: How are things here? Was the winter bearable? ‘The neighbor considerate? GRUSHA: The winter was a trifle rough, the neighbor as usual, Simon, SIMON: May one ask if a certain person still dips her toes in the water when rinsing the linen? GRuSHA: The answer is no. Because of the eyes in the bushes. sIMoN: The young lady is speaking of soldiers. Here stands ‘@ paymaster. GRUSHA: A job worth twenty piasters? SIMON: And lodgings, The Caucasian Chalk Circle / 81 cRusHA (with tears in her eyes): Behind the barracks under the date trees. siMoN: Yes, there. A certain person has kept her eyes open. oRUsHA: She has, Simon, ston: And has not forgotten? (GRUSHA shakes her head.) So the door is stil on its hinges as they say? (GRUSHA looks at him in silence and shakes her head again.) What's this? Is anything not as it should be? crusHA: Simon Shashava, I can never retum to Nuka. ‘Something has happened. simon: What can have happened? orusHA: For one thing, I knocked an Ironshirt down. simon: Grusha Vashnadze must have had her reasons for that, GRUSHA: Simon Shashava, I am no longer called what I used to be called. SIMON (after a pause) : I do not understand. usta: When do women change their names, Simon? Let me explain, Nothing stands between us. Every- thing is just as it was, You must believe that, simon: Nothing stands between us and yet there’s some~ crusa: How can I explain it so fast and with the stream between us? Couldn't you cross the bridge there? SIMON: Maybe it's no longer necessary. siMON: Does the young lady wish to say someone has come ‘too late?; 82 / Bertolt Brecht GRusHA looks up at him in despair, her face with tears. SIMON stares before him. He picks Piece of wood and starts cutting it, SINGER: . So many words are said, so many left unsaid. ‘The soldier has come. Where he comes from, he does not say Hear what he thought and did not say: “The battle began, gray at dawn, grew bloody at The first man fell in front of me, the second me, the third at my side, I trod on the first, left the second behind, the was run through by the captain, ‘One of my brothers died by steel, the other by ‘My neck caught fire, my hands froze in my my toes in my socks. I fed on aspen buds, I drank maple juice, I slept stone, in water.” SIMON: I see a cap in the grass. Is there a little one alr GrusHA: There is, Simon. There’s no keeping that you, But please don’t worry, it is not mine, ‘SIMON: When the wind once starts to blow, they say, blows through every cranny. The wife need say more, (GRUSHA looks into her lap and is silent.) SINGER: There was yearning but there was no waiting, ‘The oath is broken. Neither could say why. Hear what she thought but did not say “While you fought in the battle, soldier, The bloody battle, the bitter battle I found a helpless infant Thad not the heart to destroy him Thad to care for a creature that was lost The Caucasian Chalk Circle / 83 Thad to stoop for breadcrumbs on the floor Thad to break myself for that which was not mine ‘That which was other people's. Someone must help! For the little tree needs water The lamb loses its way when the shepherd is asleep And its ery is unheard!” SIMON: Give me back the cross I gave you. Better still, throw it in the stream. (He turns to go.) GRUSHA (getting up): Simon Shashava, don’t go away! He isn’t mine! He isn’t mine! (She hears the children calling.) What's the matter, children? vorces: Soldiers! And they're taking Michael away! GRUSHA stands aghast as two IRONSHIRTS, with MICHAEL between them, come toward her. ONE OF THE IRONSHIRTS: Are you Grusha? (She nods.) Is this your child? GRUSHA: Yes. (SIMON goes.) Simon! IRONSHIRT: We have orders, in the name of the law, to take this child, found in your custody, back to the ity. It is suspected that the child is Michael Abash-_ son and heir of the late Governor Georgi Abash- wili, and his wife, Natella Abashwili. Here is the document and the seal. (They lead the CHILD away.) GRUSHA (running after them, shouting): Leave him here, Please! He’s mine! SINGER: ‘The Ironshirts took the child, the beloved child, The unhappy girl followed’ them to the city, the dreaded city. She who had bome him demanded the child,Bertolt Brecht had raised him faced trial. decide the case? will the child be pair nan 4 will the judge be? A ju ‘The city was deca aac THE STORY OF THE JUDGE SINGER: ‘Hear the story of the judge How he turned judge, how he passed judgment, what, kind of judge he was, On that Easter Sunday of the great revolt, when the Grand Duke was overthrown And his Governor Abashwili, father of our child, lost his head ‘The Village Scrivener Azdak found a fugitive in the woods and hid him in his hut. AZDAK, in rags and slightly drunk, is helping an old beggar into his cottage, AZDAK: Stop snorting, you're not a horse. And it won't do you any good with the police to run like a snotty nose in April, Stand still, I say. (He catches the oD MAN, who has marched into the cottage as if he'd like to go through the walls.) Sit down. Feed. Here's a hunk of cheese. (From under some rags, in a chest, hhe fishes out some cheese, and the OLD MAN greedily Begins 10 eat.) Haven't eaten in a long time, huh? (The oLD MaN growls.) Why were you running like that, asshole? The cop wouldn't even have seen you. OLD MAN: Had to! Had to! 4zDak: Blue funk? (The OLD MAN stares, uncomprehend- ing.) Cold feet? Panic? Don't lick your chops like a Grand Duke. Or an old sow. I can't stand it, We have * The name Azdak should be accented on the second lable—E. B. 85/ Bertolt Brecht to accept respectable stinkers as God made them, not you! I once heard of a senior judge who farte at a public dinner to show an independent spiritf Watching you eat like that gives me the most a ideas, Why don’t you say something? (Sharply. Show me your hand. Can’t you hear? (The OLD Mi slowly puts out his hand.) White! So you're not a beggar at all! A fraud, a walking swindle! And hiding you from the cops like you were an honest} man! Why were you running like that if you're landowner? For that’s what you are. Don’t deny itl’ I sce it in your guilty face! (He gets up.) Get out (The oxp Max looks at him uncertainty.) What ar you waiting for, peasant-flogger? ‘OLD MAN: Pursued. Need undivided attention, Make propo= sition . AZDAK: Make what? A proposition? Well, if that isn’t height of insolence. He’s making me a proposition! ‘The bitten man scratches his fingers bloody, and th eech that’s biting him makes him a proposition! Ge ‘out, I tell you! OLD MAN: Understand point of view! Persuasion! Pay bur ‘dred thousand piasters one night! Yes? Azpak: What, you think you can buy me? For a hundne thousand piasters? Let’s say a hundred and fifty tho sand. Where are they? LD MAN: Have not them here, Of course, Will be ser Hope do not doubt. ‘AzDAK: Doubt very much, Get out! The oLp MAN gets up, waddles 10 the door. A VOICt is heard offstage. voice: Azdak! ‘The Caucasian Chalk Circle / 87 The OLD MAN turns, waddles to the opposite corner, stands still. azpax (calling out): I'm not in! (He walks to door.) So you're sniffing around here again, Shauwa? ‘SHAUWA (reproachfully): You caught another rabbit, Az- dak, And you'd promised me it wouldn’t happen again! AzDAK (severely): Shauwa, don’t talk about things you don't understand, The rabbit is a dangerous and de- structive beast. It feeds on plants, especially on the species of plants known as weeds. It must therefore be exterminated, SHAUWA: Azdak, don’t be so hard on me. T'll lose my job if I don't arrest you, I know you have a good heart, AzDAK: I do not have a good heart! How often must I tell you I’m a man of intellect? suauWa (slyly): I know, Azdak. You're a superior person. You say so yourself, I'm just a Christian and an ignoramus. So I ask you: When one of the Prince's rabbits is stolen, and I'm a policeman, what should T do with the offending party? Azpak: Shauwa, Shauwa, shame on you, You stand and ask me a question, than which nothing could be more seductive. It's like you were a woman—let’s say that bad girl Nunowna, and you showed me your thigh— Nunowna's thigh, that would be—and asked me: “What shall I do with my thigh, it itches?” Is she as innocent as she pretends? Of course not. I catch a rabbit, but you catch a man, Man is made in God’s image. Not so a rabbit, you know that, 'm a rabbit-cater, but you're a man-eater, Shauwa. And God will pass judgment on you. Shauwa, go home and repent, No, stop, there’s something... (He looks at the OLD MAN who stands trembling in the 7 |7 Bertolt Brecht corner.) No, it's nothing. Go home and repent. (He slams the door behind sasuwa.) Now you' ised, huh? Surprised I didn't hand you over?) I couldn't hand over a bedbug to that animal, ‘goes against the grain, Now don’t tremble beca of a cop! So old and still so scared? Finish cheese, but cat it like a poor man, or else th still catch you, Must I even explain how a poor behaves? (He pushes him down, and then gives In the court of justice three mONSHIRTS sit dr ‘The Caucasian Chalk Circle / 89 From a beam hangs a man in judge’s robes. Enter ‘Azpak, in chains, dragging SHAUWA behind him, AZDAK (shouting): T've helped the Grand Duke, the Grand Thief, the Grand Butcher, to escape! In the name of justice I ask to be severely judged in public trial! FIRST IRONSHIRT: Who's this queer bird? ‘sHAUWA: That's our Village Scrivener, Azdak. azpax: I am contemptible! I am a troitor! A branded ‘man denounce himself! Tell them how 1 forced you to walk half the night with me to clear the whole thing up. sHAUWA: And all by threats. That wasn’t nice of you, Azdak. Azpax: Shut your mouth, Shauwa. You don’t understand, A new age is upon us! It'll go thundering over you. ‘You're finished. The police will be wiped out—poof! Everything will be gone into, everything will be brought into the open. The guilty will give themselves up. Why? They couldn’t escape the people in any case, (To SHAUWA:) Tell them how I shouted all along Shocmaker Street (with big gestures, looking at the irons 1s) “In my ignorance I let the Grand Swindler escape! So tear me to pieces, brothers!” I wanted to get it in first. First IRONsHMRT: And what did your brothers answer? suauwa: They comforted him in Butcher Street, and they — themselves sick in Shoemaker Street. That's90 / Bertolt Brecht ‘szpak: But with you it’s different, I can see you're men 0 icon, Brodie, where's the judge? I must be tried monsummt (pointing at the hanged man): ‘There Rimi he judge. And please stop “brothering” us. It’s rath a sore spot this evening. ae ‘Azosx: “There’s the judge.” An answer never ‘Grusinia before. Townsman, where's His Excellency the Governor? (Pointing to the ground.) There's Hi Excellency, stranger. Where's the Chief Tax Collect ‘Where's the official Recruiting Officer? The Patriarch The Chiet of Police? There, there, there—all ther Brothers, I expected no less of you. SECOND TRONSAIRT: What? What was it you expect funny man? AZDAK: ‘What happened in Persia, brother, what happen in Persia? ‘SECOND RONSHIRT: What did happen in Persia? ‘Azoax: Everybody was hanged. Viziers, tax collects fbody. Forty years ago now. My grandfath predic man by the way, saw it all. For ta whole days. Everywhere. SECOND TRONsHIRT: And who ruled when the Vizier v ate ruled when the Vizier was hanged. SECOND TRoNsHIRT: And who commanded the army? ‘Azpax: A soldier, a soldier. SECOND TRONsHIRT: And who paid the wages? ‘azax: A dyer. A dyer paid the wages. SECOND TRONSHIRT: Wasn't it a weaver, maybe? winst RONsHIRT: And why did all this happen, ‘The Caucasian Chalk Circle / 2 Azpak: Why did all this happen? Must there be a ean Why do you scratch yourself, brother? War! 'o0 Jong a war! And no justice! My grandfather brought back a song that tells how it was. I will sing it for you. With my friend the policeman. (To SHAUWA:) And hold the rope tight. It’s very suitable, (He sings, with suauwa holding the rope tight around him.) THE SONG OF INJUSTICE IN PERSIA ‘Why don't our sons bleed any more? Why don’t our daughters weep? Why do only the slaughterhouse cattle have blood in their veins? ‘Why do only the willows shed tears on Lake Urmia? The king must have a new province, the peasant must give up his savings. ‘That the roof of the world might be conquered, the roof of the cottage is torn down. ‘Our men are carried to the ends of the earth, so that, ‘great ones can eat at home. The soldiers kill each other, the marshals salute each other, ‘They bite the widow's tax money to see if it's good, their swords break. The battle was lost, the helmets were paid for, Refrain: Is it s0? Is it so? SHAUWA (refrain): Yes, yes, yes, yes, yes AzDak: Want to hear the rest of it? (The FIRST IRONSHIRT nods.) SECOND IRONSHIRT (f0 SHAUWA): Did he teach you that song? sHauwa: Yes, only my voice isn’t very good. SECOND IRONsEIRT: No, (To azDaK:) Go on singing, 80.a Bertolt Brecht a ch} ; ‘Azpax: The second verse is about the peace. (He sings.) ‘The offices are packed, the streets overflow with officials. vers jump their banks and ravage the fields. ‘Those wo sennot let down their own trousers rule countries. r ‘They can’t count up to four, but they devour eight ‘The com farmers, looking round for buyers, see only “The Weavers go home from their looms in rags. Refrain: Is it s0? Is it so? SHAUWA (refrain): Yes, yes, yes, yes, yes it’s so, ADDAK: ; ‘That's why our sons don’t bleed any more, that’s why ‘our daughters don’t weep. aol ‘That's why only the slaughterhouse cattle have in their veins, ‘And only the willows shed tears by Lake Us toward morning. FIRST TRONSHIRT: Are you going to sing that song here town? ‘AzDAK: Sure, What's wrong with it? + Has noticed that the sky's Pmt (Turing round, zoax ses the sh Pe fire.) Its the people's quarters on the outskir town. The carpet Weavers have caught the | Sickness,” too. And they've been asking if Kazbeki isn’t eating too many courses. This m they strung up the city judge. As for us we beat to pulp. We were paid one hundred piasters per you understand? ‘The Caucasian Chalk Circle / 93 AZDAK (after a pause): I understand. (He glances shyly round and, creeping away, sits down in a corner, his head in his hands.) TRONSHIRTS (10 each other): If there ever was a trouble~ maker it’s him, —He must've come to the capital to fish in the troubled waters, SHAUWA: Ob, I don’t think he’s a really bad character, gentlemen. Steals a few chickens here and there, And maybe a rabbit, SECOND IRONSHIRT (approaching AZDAK): Came to fish in the troubled waters, huh? azpax (looking up): I don’t know why I came, SECOND IRONSHIRT: Are you in with the carpet weavers maybe? (azpak shakes his head.) How about that song? azbax: From my grandfather. A silly and ignorant man, SECOND IRONSHIRT: Right, And how about the dyer who paid the wages? AZDAK (muttering): That was in Persia. FIRST IRONSHIRT: And this denouncing of yourself? Be- cause you dida’t hang the Grand Duke with your own hands? 4zpax: Didn't J tell you I let him run? (He creeps farther away and sits on the floor.) ‘Suauwa: I can swear to that: ke Jet him run, ‘The ronsumnrs burst out laughing and slap SHAUWA on the back. azDax laughs loudest, They slap AzDaK 100, and unchain him. They all start drinking as the FAT PRINCE enters with a young man.Oe ee ee Bertolt Brecht ‘The Caucasian Chalk Circle / 95 4 7 onsuinr (to AZDAK, pointing at the FAT PRINCE)? AzDaK: You'd like to test him to the G FIRST IR¢ abs ‘a "There's your “new age” for you! (More laughter.) ar pRINcE: Well, my friends, what is there to laugh about? ament i i with his t of the Grand Duke and did away wit Governors. Unfortunately the Grand Duke himself escaped. In this fateful hour our carpet weavers, # Giemnal troublemakers, had the effrontery to stir UP a rebellion and hang the unive sally loved city jude four dear Ilo Orbeliani, Ts—ts—ts. My friends, need peace, peace, peace in Grusinial And j So Tre brought along my dear nephew Bizerga Kazbeki. He'll be the new judge, hm? A very sited fellow. What do you say? I want your opinion. the people decide! ; sucoND TRONSHIRT: Does this mean we elect the jud .ce: Precisely. Let the people propose some PAT Wifted fellow! Confor among yourselves, my fe (The monsters confer.) Don't worry, my Ett ‘The job’s yours. And when we catch the we won't have to kiss this rabble's ass any aronsumets (among themselves): Very funny: they'e, wetting their pants tthe Gran . rhea ti as ost {isn't so bright, they say: friends!” and “Let the people decide!” “Now he even wants justice for Grusinia! je fun as long as it lasts! (Pointing at AZDAK.) Knows all about justice. Hey, rascal, would you this nephew fellow to be the judge? azpax: Are you asking me? You're not asking me?! FIRST IRONSHIRT: Why not? Anything for a laugh! ‘Have you a criminal on hand? An experienced one? ‘So the candidate can show what he knows? SECOND IRONSHIRT: Let’s see. We do have a couple of doctors downstairs. Let’s use them. AZDAK: Oh, no, that's no good, we can’t take real criminals till we're sure the judge will be appointed. He may be dumb, but he must be appointed, or the law is violated. And the law is a sensitive organ, It’s like the spleen, you mustn't hit it—that would be fatal, Of course you can hang those two without violating the Jaw, because there was no judge in the vicinity. But judgment, when pronounced, must be pronounced. with absolute gravity—it's all such nonsense. Sup- pose, for instance, a judge jails a woman—let’s say she’s stolen a corn cake to feed her child—and this judge isn’t wearing his robes—or maybe he’s scratch- ing himself while passing sentence and half his body is uncovered—a man’s thigh will itch once in a while —the sentence this judge passes is a disgrace and the law is violated. In short it would be easier for a judge’s robe and a judge’s hat to pass judgment than for a man with no robe and no hat. If you don’t treat it with respect, the law just disappears-on you. Now you don't try out a bottle of wine by offering it to a dog; you'd only lose your wine. FIRST IRONSHIRT: Then what do you suggest, hairsplitter? AzpAK: Til be the defendant, First moNsHmRT: You? (He bursts out laughing.) FAT PRINCE: What have you decided? FIRST IRONSHIRT: We've decided to stage a rehearsal. Our friend here will be the defendant. Let the candidate be the judge and sit there,96 / Bertolt Brecht FAT PRINCE: It isn't customary, but why not? (To the NepHEW:) A mere formality, my little fox. What fhave I taught you? Who got there first—the slow t? NEPHEW: The silent runner, Uncle Arsen. The NEPHEW takes the chair. The ironseIRTs and the FAT PRINCE Sit on the steps. Enter azDak, mimicking’ the gait of the Grand Duke. ‘gpax (in the Grand Duke’s accent): Is any here knows ‘me? Am Grand Duke, IRONSHIRTS: —What is he? amor a worried councit has been held, smile with relief. They whisper, coor: Oh dear! SIMON: A well can’t be filled with dew, they say. LAWYERS (approaching AZDAK, who stands ; aa ching A up, expect. #)): A quite ridiculous case, Your Honor. The ae a child and refuses to hand it AZDAK (stretching out his hand, glancing at cRusHA): A most attractive person. (He tivatars, acted) Sodice ts proeeaee118 = / __ Bertolt Brecht ‘and demand the whole truth, (To xusa:) Especially, from you. inst LAWYER: High Court of Justice! Blood, as the popu> Tar saying goes, is thicker than water. This old ‘Azpax (interrupting): The Court wants to know the lawe vers’ fee. j mast LAWYER (surprised): I beg your pardon? (AZDAK, RimSTomiling, rubs his thumb and index finger.) Ob, 1 Five hundred piasters, Your Honor, to answer the Court’s somewhat unusual question. ‘azpax: Did you hear? The question is unusual, I ask ‘because T listen in quite a different way when I know. you're good. Lawyer (bowing): Thank you, Your Honor. Per Gan of fortca of all ties the ties of blood ADZAK (interrupting, to GRUSHA): ‘What's your answer Su ins and anything else that lawyer might have say? erusHa: He’s mine. azpak: Is that all? I hope you can prove it. Why T assign the child to you in any case? xusna: I brought him up like the priest says “% First Lawyer: Your Honor, it is signi herself doesn’t claim any tie of blood between her and the child, Azpak: The Court takes note of that. GovERNon’s WIFE (quietly): A most cruel fate, sir, forces me to describe to you the tortures of a bereaved mother's soul, the anxiety, the sleepless nights, the .. SECOND LAWYER (bursting out): I's outrageous the this woman is being treated! Her husband's palace i closed to her! The revenue of her estates is blocked, and she is cold-bloodedly told that it’s tied to the heir. She can’t do a thing without that child. She can’t even pay her lawyers! ! (To the FIRST LAWYER, who, des- erate about this outburst, makes frantic gestures 10 keep him from speaking:) Deat Ilo Shuboladze, Al FIRST LAWYER: Please, Honored Sandro Oboladze! We agreed ... (To AZDAK:) Of course it is correct that the trial will also decide if our noble client can take over the Abashwili estates, which are rather exten- sive, I say “also” advisedly, for in the foreground120 / __ Bertolt Brecht stands Natella the human tragedy of a mother, as ‘Abashvil very properly explained the first words of oving statement. Even ar aoe heir to the estates, he would still be the dearly beloved child of my client. azpax: Stop! The Court is touched by the mention of estates, It's a proof of human feeling. SECOND LAWYER: Thanks, Your Honor, Dear Ilo Shubol- in any case that the woman who naz He child not the child's mother. Permit me cook: All her mistress was thinking of was what dresses she'd take along! Grusha w¥ER (unmoved): Nearly a year later seme ad up ia a mounts vilage with a baby and there entered into the state of matrimony with . « ‘szpax: How'd you get to that mountain village? rusia: On foot, Your Honor. And he was mine, ‘simon: I'm the father, Your Honor, cox: I used to look after it for them, Your Honor. Fi five piasters. 2 “ ey ‘seconp LAWYER: This man is engaged to Grusha, ‘Court of Justice: his testimony is suspect. agoak: Ate you the man she married in the mo village? ‘The Caucasian Chalk Circle = / = 121 AZDAK (to GRUSHA): Why? (Pointing at stMoN.) Is he no good in bed? Tell the truth, GRUSHA: We didn’t get that far, I married because of the baby. So he’d have a roof over his head. (Pointing at SIMON.) He was in the war, Your Honor. AzpaK: And now he wants you back again, huh? SIMON: I wish to state in evidence . . . GRUSHA (angrily): I am no longer free, Your Honor. Azpak: And the child, you claim, comes from whoring? (GRUSHA doesn't answer.) T'm going to ask you a question: What kind of child is he? A ragged little bastard? Or from a good family?, GRUSHA (angrily): He’s an ordinary child, AzpaK: I mean—did he have refined features from the teens GRusHA: He had a nose on his face. AzDAK: A very significant comment! It has been said of me that I went out one time and sniffed at a rosebush before rendering a verdict—tricks like that are needed nowadays. Well, I'll make it short, and not listen to any more lies. (To GRUSHA:) Especially not yours. (Zo all the accused:) 1 can imagine what you've cooked up to cheat me! I know you people, You're swindlers, crusHA (suddenly): I can understand your wanting to cut it short, now I've seen what you accepted! Azbak: Shut up! Did I accept anything from you? RUSHA (While the COOK tries 10 restrain her): I haven't got anything.122 / _ Bertolt Brecht 3 AzpaK: True. Quite true, From ‘thing. I might just as well justice, bur do you want to pay for i,m? he you go to a butcher you know you have to pay, but, you people go to a judge as if you were off to funeral supper. snwox (loudly): When the horse was shod, the horsefly” held out its leg, as the saying is. ‘eagerly accepting the challenge) : Better a treasw a er than a stone in a mountain stream. smmon: A fine day. Let’s go fishing, said the angler to th worm. ‘azpax: I'm my own master, said the servant, and cut off » his foot. SIMON: Llove you as a father, said the Czar to the peasam ‘and had the ’s head chopped off. azpax: A fool’s worst enemy is himself. simon: However, a fart has no nose. ‘azoax: Fined ten piasters for indecent language in court ‘That'll teach you what justice is. ic A fine kind of justice! You play fa conven (furiously): ‘pecause we don't talk 28 refi as that crowd with their lawyers ‘AzosK: That’s true. You people are too dumb. It's om Tight you should get it in the neck. usa: You want to hand the child over to her, and oe Maaldn’t even know how to keep it dry, she's so fined’! You know about as much about justice something in that. I’m an ignorant m decent pair of pants on under azpak: There’ Haven't even @ starvelings I never get starve, myself. You want ‘The Caucasian Chalk Circle / 123 gown. Look! With me, everything goes on food and drink—I was educated in a convent. Incidentally, Till fine you ten piasters for contempt of court, And you're a very silly girl, to turn me against you, instead ‘of making eyes at me and wiggling your backside a Tittle to keep me in a good temper. Twenty piasters! rusia: Even if it was thirty, Pd tell you what I think of your justice, you drunken onion! (Incoherently.) How dare you talk to me like the cracked Isaiah on the church window? As if you were somebody? For you weren't born to this. You weren't born to rap your, own mother on the knuckles if she swipes a little bowl of salt someplece. Aren’t you ashamed of yourself when you see how I tremble before you? You've made yourself their servant so no one will take their houses from them—houses they had stolen! Since when have houses belonged to the bedbugs? But you're on the watch, or they coulda’t drag our men into their wars! ‘You bribetaker! AzDak half gets up, starts beaming. With his little hammer he hal{heartedly knocks on the table as if to get silence. As GRusua’s scolding continues, he only beats time with his hammer. T've no respect for you, No more than for a thief or a bandit with a knife! You can do what you want. You can take the child away from me, a hundred against one, but I tell you one thing: only extortioners should be chosen for a profession like yours, and men who rape children! As punishment! Yes, let them sit in judgment on their fellow creatures. It is worse than to hang from the gallows. AZDAK (sitting down): Now it'll be thirty! And I won't go ‘on squabbling with you—we're not in a tavern. What'd happen to my dignity as a judge? Anyway, I've lostC00K (to oRUSHA): You've gone and spoiled your “ii fim, You won't get the child now. GoverNor’s WIFE: Shalva, my smelling salts! Enter a very old couple. a : The old couple don't understand.) T aoa acer be divorce. How long have been together? ‘op woMAN: Forty years, Your Honor. ‘xzpax: And why do you want a divorce? ‘OLD MAN: We don’t like each other, Your Honor: azpak: Since when? op WoMAN: Oh, from the very beginning, Your a about request and render my verd a Pn ough i hee (suauwa lea |. (He beckons 6 them back.) 1 need the at he ‘The Caucasian Chalk Circle / 125 Gaus is silent, SINGER: Hear now what the angry girl thought but did not say: Had he golden shoes to wear He'd be cruel as a bear Evil would his life disgrace. ‘He'd laugh in my face. Carrying a heart of flint Is too troublesome a stint, ‘Then let hunger be his foe! ~ Hungry men and women, no, Let him fear the darksome night But not daylight! AzDAK: I think I understand you, woman. crusHA (suddenly and loudly): 1 won't give him up. I've raised him, and he knows me, Enter SuSUWA with the CHILD. GOVERNOR'S WIFE: He’s in rags! GRUSHA: That’s not true, But I wasn’t given time to put his good shirt on. GOVERNOR'S WIFE: He must have been in a pigsty. GRusHA (furiously): I'm not a pig, but there are some who are! Where did you leave your baby? GOVERNOR’s WIFE: ['ll show you, you vulgar creature! (She is about to throw herself on GRUSHA, but is restrained by her lawyers.) She’s a criminal, she must be whipped. Immediately!126 © / __ Bertolt Brecht secon LAWYER (holding his hand over her mouth ‘Natella Abashwili, you promised . . . Your Honor, t plaintiffs nerves ... UWA puts MICHAEL, who smiles at GRUSEL, in t Gio of the elrcle.) Stand neat the circle, both 0 you. (The GOVERNOR'S WIFE and GRUSHA step Up 10 of ‘The fate of the great Abash side; GRUSHA has let go and stands aghast.) What the matter with you? You didn’t pull. erusa: I didn’t hold on to him. FIRST LAWYER (. lating the GOVERNOR'S WIFE) ‘What did I say! The ties of blood! Gxusua (running to azpxk): Your Honor, I take ! I said against you. I ask your forgiven But could I keep him till he can speak all the word ‘He knows a few, azpak: Don’t influence the Court, I bet you only kn ‘The Caucasian Chalk Circle / 127 about twenty words yourself, All right, I'l make the test once more, just to be certain, (The two women take up their positions again.) Pull! (Again GRUSHA lets go of the CHILD.) xusHA (in despair): I brought him up! Shall I also tear ‘him to bits? I can’t! ‘Azmax (rising): And in this manner the Court has de- termined the true mother. (To GRusHA:) Take your child and be off. I advise you not to stay in the city with him. (To the Governor's WirE:) And you dis- appear before I fine you for fraud. Your estates fall to the city. They'll be converted into a for the children. They need one, and I've decided it'll be called after me: Azdak’s Garden. The GoveRNor's Wire has fainted and ts carrled out by the LawvERS and the ADJUTANT. GRUSHA stands motionless. SAUWA leads the CHILD toward her. Now Tl take off this judge’s gown—it’s got too hot for me. I'm not cut out for a hero. In token of fare- well I invite you all to a little dance in the meadow outside. Oh, Td almost forgotten something in my excitement . .. to sign the divorce decree. (Using the judge’s chair as a table, he writes something on a iece of paper, and prepares to leave. Dance music hhas started.) sHAUWA (having read what is on the paper): But that’s not right. You've not divorced the old people. You've divorced Grushal Azpax: Divorced the wrong couple? What a pity! And I never retract! If I did, how could we keep order the land? (To the old couple:) Tl invite you to my party instead. You don’t mind dancing with each other, do you? (To GRUSHA and SIMON:) I've got forty piasters coming from you, e128 «=/ Bertolt Brecht stMon (pulling out his purse): Cheap at the price, Your Honor, And many thanks. ‘Azpax (pocketing the cash): Y'll be needing this. GRUSHA (fo MICHAEL): So we'd better leave the city ‘tonight, Michael? (To sIMon:) You like him? SIMON: With my respects, I like him, GausHa: Now I can tell you: I took him because om that ‘aster Sunday I got engaged to you, So he’s a child of love. Michael, let's dance. She dances with MICHAEL, SIMON dances with the C00K, the old couple with each other. AZDAK stands lost in thought. The dancers soon hide him from view. Occasionally he is seen, but less and less as more couples join the dance. SINGER: ‘And after that evening Azdak vanished and was seen again, ‘The people of Grusinia did not forget him but remembered ‘The period of his judging as a brief golden age, Almost an age of justice. Alll the couples dance off. azpax has disappeared. But you, you who have listened to the Story of ‘Chalk Circle, ‘Take note what men of old concluded: ‘That what there is shall go to those who are for it, Children to the motherly, that they prosper, Carts to good drivers, that they be driven well, The valley to the waterers, that it yicld fruit. Appendix An Un-American Chalk Circle? in the Minnesota Theatre Company’s ti untoward incidents, and in 1966 1 wae included ia the production of the Lincoln Center Repertory i 129