Page:Emma Goldman - The Social Significance of the Modern Drama - 1914.djvu/318

 are in dungeons, in galleys, on crosses, but we will go to the theater. They perish, but we will devour them—devour—devour.

The court has fulfilled its mission. King-Hunger is the most powerful king on earth.

The starvelings break out in revolt. The bells peal with deafening thunder; all is confusion and chaos. The city is immersed in the blackness of despair, and all is dark. Now and then gusts of fire sweep the sky illuminating the scene of battle. The air is filled with cries and groans; there is the thud of falling bodies, and still the fight goes on.

In a secluded part of the town stands the castle. In its most magnificent ballroom the rich and their lackeys—scientists, teachers and artists—are gathered. They tremble with fear at the ominous sounds outside. To silence the loud beat of their terror they command the musicians to strike up the liveliest tunes, and the guests whirl about in a mad dance.

From time to time the door is forced open and someone drops exhausted to the floor. An artist rushes in, crying out that the art gallery is in flames.

"Murillo is burning! Velasquez is burning!  Giorgione is burning!"

He is not in the least concerned with living