Tragedy of an Elderly Gentleman: A.D. 3000/Act II

''A courtyard before the columned portico of a temple. The temple door'' ''is in the middle of the portico. A veiled and robed woman of majestic'' ''carriage passes along behind the columns towards the entrance. From the'' opposite direction a man of compact figure, clean-shaven, saturnine, and self-centred: in short, very like Napoleon I, and wearing a military uniform of Napoleonic cut, marches with measured steps; places his hand in his lapel in the traditional manner; and fixes the woman with his ''eye. She stops, her attitude expressing haughty amazement at his'' ''audacity. He is on her right: she on his left.''

NAPOLEON [impressively] I am the Man of Destiny.

THE VEILED WOMAN [unimpressed] How did you get in here?

NAPOLEON. I walked in. I go on until I am stopped. I never am stopped. I tell you I am the Man of Destiny.

THE VEILED WOMAN. You will be a man of very short destiny if you wander about here without one of our children to guide you. I suppose you belong to the Baghdad envoy.

NAPOLEON. I came with him; but I do not belong to him. I belong to myself. Direct me to the oracle if you can. If not, do not waste my time.

THE VEILED WOMAN. Your time, poor creature, is short. I will not waste it. Your envoy and his party will be here presently. The consultation of the oracle is arranged for them, and will take place according to the prescribed ritual. You can wait here until they come [she turns to go into the temple].

NAPOLEON. I never wait. [She stops]. The prescribed ritual is, I believe, the classical one of the pythoness on her tripod, the intoxicating fumes arising from the abyss, the convulsions of the priestess as she delivers the message of the God, and so on. That sort of thing does not impose on me: I use it myself to impose on simpletons. I believe that what is, is. I know that what is not, is not. The antics of a woman sitting on a tripod and pretending to be drunk do not interest me. Her words are put into her mouth, not by a god, but by a man three hundred years old, who has had the capacity to profit by his experience. I wish to speak to that man face to face, without mummery or imposture.

THE VEILED WOMAN. You seem to be an unusually sensible person. But there is no old man. I am the oracle on duty today. I am on my way to take my place on the tripod, and go through the usual mummery, as you rightly call it, to impress your friend the envoy. As you are superior to that kind of thing, you may consult me now. [She leads the way into the middle of the courtyard]. What do you want to know?

NAPOLEON [following her] Madam: I have not come all this way to discuss matters of State with a woman. I must ask you to direct me to one of your oldest and ablest men.

THE ORACLE. None of our oldest and ablest men or women would dream of wasting their time on you. You would die of discouragement in their presence in less than three hours.

NAPOLEON. You can keep this idle fable of discouragement for people credulous enough to be intimidated by it, madam. I do not believe in metaphysical forces.

THE ORACLE. No one asks you to. A field is something physical, is it not. Well, I have a field.

NAPOLEON. I have several million fields. I am Emperor of Turania.

THE ORACLE. You do not understand. I am not speaking of an agricultural field. Do you not know that every mass of matter in motion carries with it an invisible gravitational field, every magnet an invisible magnetic field, and every living organism a mesmeric field? Even you have a perceptible mesmeric field. Feeble as it is, it is the strongest I have yet observed in a shortliver.

NAPOLEON. By no means feeble, madam. I understand you now; and I may tell you that the strongest characters blench in my presence, and submit to my domination. But I do not call that a physical force.

THE ORACLE. What else do you call it, pray? Our physicists deal with it. Our mathematicians express its measurements in algebraic equations.

NAPOLEON. Do you mean that they could measure mine?

THE ORACLE. Yes: by a figure infinitely near to zero. Even in us the force is negligible during our first century of life. In our second it develops quickly, and becomes dangerous to shortlivers who venture into its field. If I were not veiled and robed in insulating material you could not endure my presence; and I am still a young woman: one hundred and seventy if you wish to know exactly.

NAPOLEON [folding his arms] I am not intimidated: no woman alive, old or young, can put me out of countenance. Unveil, madam. Disrobe. You will move this temple as easily as shake me.

THE ORACLE. Very well [she throws back her veil].

NAPOLEON [shrieking, staggering, and covering his eyes] No. Stop. Hide your face again. [Shutting his eyes and distractedly clutching at his throat and heart] Let me go. Help! I am dying.

THE ORACLE. Do you still wish to consult an older person?

NAPOLEON. No, no. The veil, the veil, I beg you.

THE ORACLE [replacing the veil] So.

NAPOLEON. Ouf! One cannot always be at one's best. Twice before in my life I have lost my nerve and behaved like a poltroon. But I warn you not to judge my quality by these involuntary moments.

THE ORACLE. I have no occasion to judge of your quality. You want my advice. Speak quickly; or I shall go about my business.

NAPOLEON [After a moment's hesitation, sinks respectfully on one knee] I&mdash;

THE ORACLE. Oh, rise, rise. Are you so foolish as to offer me this mummery which even you despise?

NAPOLEON [rising] I knelt in spite of myself. I compliment you on your impressiveness, madam.

THE ORACLE [impatiently] Time! time! time! time!

NAPOLEON. You will not grudge me the necessary time, madam, when you know my case. I am a man gifted with a certain specific talent in a degree altogether extraordinary. I am not otherwise a very extraordinary person: my family is not influential; and without this talent I should cut no particular figure in the world.

THE ORACLE. Why cut a figure in the world?

NAPOLEON. Superiority will make itself felt, madam. But when I say I possess this talent I do not express myself accurately. The truth is that my talent possesses me. It is genius. It drives me to exercise it. I must exercise it. I am great when I exercise it. At other moments I am nobody.

THE ORACLE. Well, exercise it. Do you need an oracle to tell you that?

NAPOLEON. Wait. This talent involves the shedding of human blood.

THE ORACLE. Are you a Burgeon, or a dentist?

NAPOLEON. Psha! You do not appreciate me, madam. I mean the shedding of oceans of blood, the death of millions of men.

THE ORACLE. They object, I suppose.

NAPOLEON. Not at all. They adore me.

THE ORACLE. Indeed!

NAPOLEON. I have never shed blood with my own hand. They kill each other: they die with shouts of triumph on their lips. Those who die cursing do not curse me. My talent is to organize this slaughter; to give mankind this terrible joy which they call glory; to let loose the devil in them that peace has bound in chains.

THE ORACLE. And you? Do you share their joy?

NAPOLEON. Not at all. What satisfaction is it to me to see one fool pierce the entrails of another with a bayonet? I am a man of princely character, but of simple personal tastes and habits. I have the virtues of a laborer: industry and indifference to personal comfort. But I must rule, because I am so superior to other men that it is intolerable to me to be misruled by them. Yet only as a slayer can I become a ruler. I cannot be great as a writer: I have tried and failed. I have no talent as a sculptor or painter; and as lawyer, preacher, doctor, or actor, scores of second-rate men can do as well as I, or better. I am not even a diplomatist: I can only play my trump card of force. What I can do is to organize war. Look at me! I seem a man like other men, because nine-tenths of me is common humanity. But the other tenth is a faculty for seeing things as they are that no other man possesses.

THE ORACLE. You mean that you have no imagination?

NAPOLEON [forcibly] I mean that I have the only imagination worth having: the power of imagining things as they are, even when I cannot see them. You feel yourself my superior, I know: nay, you are my superior: have I not bowed my knee to you by instinct? Yet I challenge you to a test of our respective powers. Can you calculate what the methematicians call vectors, without putting a single algebraic symbol on paper? Can you launch ten thousand men across a frontier and a chain of mountains and know to a mile exactly where they will be at the end of seven weeks? The rest is nothing: I got it all from the books at my military school. Now this great game of war, this playing with armies as other men play with bowls and skittles, is one which I must go on playing, partly because a man must do what he can and not what he would like to do, and partly because, if I stop, I immediately lose my power and become a beggar in the land where I now make men drunk with glory.

THE ORACLE. No doubt then you wish to know how to extricate yourself from this unfortunate position?

NAPOLEON. It is not generally considered unfortunate, madam. Supremely fortunate rather.

THE ORACLE. If you think so, go on making them drunk with glory. Why trouble me with their folly and your vectors?

NAPOLEON. Unluckily, madam, men are not only heroes: they are also cowards. They desire glory; but they dread death.

THE ORACLE. Why should they? Their lives are too short to be worth living. That is why they think your game of war worth playing.

NAPOLEON. They do not look at it quite in that way. The most worthless soldier wants to live for ever. To make him risk being killed by the enemy I have to convince him that if he hesitates he will inevitably be shot at dawn by his own comrades for cowardice.

THE ORACLE. And if his comrades refuse to shoot him?

NAPOLEON. They will be shot too, of course.

THE ORACLE. By whom?

NAPOLEON. By their comrades.

THE ORACLE. And if they refuse?

NAPOLEON. Up to a certain point they do not refuse.

THE ORACLE. But when that point is reached, you have to do the shooting yourself, eh?

NAPOLEON. Unfortunately, madam, when that point is reached, they shoot me.

THE ORACLE. Mf! It seems to me they might as well shoot you first as last. Why don't they?

NAPOLEON. Because their love of fighting, their desire for glory, their shame of being branded as dastards, their instinct to test themselves in terrible trials, their fear of being killed or enslaved by the enemy, their belief that they are defending their hearths and homes, overcome their natural cowardice, and make them willing not only to risk their own lives but to kill everyone who refuses to take that risk. But if war continues too long, there comes a time when the soldiers, and also the taxpayers who are supporting and munitioning them, reach a condition which they describe as being fed up. The troops have proved their courage, and want to go home and enjoy in peace the glory it has earned them. Besides, the risk of death for each soldier becomes a certainty if the fighting goes on for ever: he hopes to escape for six months, but knows he cannot escape for six years. The risk of bankruptcy for the citizen becomes a certainty in the same way. Now what does this mean for me?

THE ORACLE. Does that matter in the midst of such calamity?

NAPOLEON. Psha! madam: it is the only thing that matters: the value of human life is the value of the greatest living man. Cut off that infinitesimal layer of grey matter which distinguishes my brain from that of the common man, and you cut down the stature of humanity from that of a giant to that of a nobody. I matter supremely: my soldiers do not matter at all: there are plenty more where they came from. If you kill me, or put a stop to my activity (it is the same thing), the nobler part of human life perishes. You must save the world from that catastrophe, madam. War has made me popular, powerful, famous, historically immortal. But I foresee that if I go on to the end it will leave me execrated, dethroned, imprisoned, perhaps executed. Yet if I stop fighting I commit suicide as a great man and become a common one. How am I to escape the horns of this tragic dilemma? Victory I can guarantee: I am invincible. But the cost of victory is the demoralization, the depopulation, the ruin of the victors no less than of the vanquished. How am I to satisfy my genius by fighting until I die? that is my question to you.

THE ORACLE. Were you not rash to venture into these sacred islands with such a question on your lips? Warriors are not popular here, my friend.

NAPOLEON. If a soldier were restrained by such a consideration, madam, he would no longer be a soldier. Besides [he produces a pistol], I have not come unarmed.

THE ORACLE. What is that thing?

NAPOLEON. It is an instrument of my profession, madam. I raise this hammer; I point the barrel at you; I pull this trigger that is against my forefinger; and you fall dead.

THE ORACLE. Shew it to me [she puts out her hand to take it from him].

NAPOLEON [retreating a step] Pardon me, madam. I never trust my life in the hands of a person over whom I have no control.

THE ORACLE [sternly] Give it to me [she raises her hand to her veil].

NAPOLEON [dropping the pistol and covering his eyes] Quarter! Kamerad! Take it, madam [he kicks it towards her]: I surrender.

THE ORACLE. Give me that thing. Do you expect me to stoop for it?

NAPOLEON [taking his hands from his eyes with an effort] A poor victory, madam [he picks up the pistol and hands it to her]: there was no vector strategy needed to win it. [Making a pose of his humiliation] But enjoy your triumph: you have made me&mdash;ME! Cain Adamson Charles Napoleon! Emperor of Turania! cry for quarter.

THE ORACLE. The way out of your difficulty, Cain Adamson, is very simple.

NAPOLEON [eagerly] Good. What is it?

THE ORACLE. To die before the tide of glory turns. Allow me [she shoots him].

''He falls with a shriek. She throws the pistol away and goes haughtily'' into the temple.

NAPOLEON [scrambling to his feet] Murderess! Monster! She-devil! Unnatural, inhuman wretch! You deserve to be hanged, guillotined, broken on the wheel, burnt alive. No sense of the sacredness of human life! No thought for my wife and children! Bitch! Sow! Wanton! [He picks up the pistol]. And missed me at five yards! Thats a woman all over.

He is going away whence he came when Zoo arrives and confronts him at the head of a party consisting of the British Envoy, the Elderly ''Gentleman, the Envoy's wife, and her daughter, aged about eighteen. The'' envoy, a typical politician, looks like an imperfectly reformed criminal ''disguised by a good tailor. The dress of the ladies is coeval with that'' of the Elderly Gentleman, and suitable for public official ceremonies in western capitals at the XVIII-XIX fin de siecle.

''They file in under the portico. Zoo immediately comes out imperiously'' to Napoleon's right, whilst the Envoy's wife hurries effusively to his ''left. The Envoy meanwhile passes along behind the columns to the door,'' ''followed by his daughter. The Elderly Gentleman stops just where he'' entered, to see why Zoo has swooped so abruptly on the Emperor of Turania.

ZOO [to Napoleon, severely] What are you doing here by yourself? You have no business to go about here alone. What was that noise just now? What is that in your hand?

Napoleon glares at her in speechless fury; pockets the pistol; and produces a whistle.

THE ENVOY'S WIFE. Arnt you coming with us to the oracle, sire?

NAPOLEON. To hell with the oracle, and with you too [he turns to go]!

THE ENVOY'S WIFE} [together] {Oh, sire!! ZOO} {Where are you going?}

NAPOLEON. To fetch the police. [He goes out past Zoo, almost jostling her, and blowing piercing blasts on his whistle].

ZOO [whipping out her tuning-fork and intoning] Hallo Galway Central. [The whistling continues]. Stand by to isolate. [To the Elderly Gentleman, who is staring after the whistling Emperor] How far has he gone?

THE ELDERLY GENTLEMAN. To that curious statue of a fat old man.

ZOO [quickly, intoning] Isolate the Falstaff monument isolate hard. Paralyze&mdash;[the whistling stops]. Thank you. [She puts up her tuning-fork]. He shall not move a muscle until I come to fetch him.

THE ENVOY'S WIFE. Oh! he will be frightfully angry! Did you hear what he said to me?

ZOO. Much we care for his anger!

THE DAUGHTER [coming forward between her mother and Zoo]. Please, madam, whose statue is it? and where can I buy a picture postcard of it? It is so funny. I will take a snapshot when we are coming back; but they come out so badly sometimes.

ZOO. They will give you pictures and toys in the temple to take away with you. The story of the statue is too long. It would bore you [she goes past them across the courtyard to get rid of them].

THE WIFE [gushing] Oh no, I assure you.

THE DAUGHTER [copying her mother] We should be so interested.

ZOO. Nonsense! All I can tell you about it is that a thousand years ago, when the whole world was given over to you shortlived people, there was a war called the War to end War. In the war which followed it about ten years later, hardly any soldiers were killed; but seven of the capital cities of Europe were wiped out of existence. It seems to have been a great joke: for the statesmen who thought they had sent ten million common men to their deaths were themselves blown into fragments with their houses and families, while the ten million men lay snugly in the caves they had dug for themselves. Later on even the houses escaped; but their inhabitants were poisoned by gas that spared no living soul. Of course the soldiers starved and ran wild; and that was the end of pseudo-Christian civilization. The last civilized thing that happened was that the statesmen discovered that cowardice was a great patriotic virtue; and a public monument was erected to its first preacher, an ancient and very fat sage called Sir John Falstaff. Well [pointing], thats Falstaff.

THE ELDERLY GENTLEMAN [coming from the portico to his granddaughter's right] Great Heavens! And at the base of this monstrous poltroon's statue the War God of Turania is now gibbering impotently.

ZOO. Serve him right! War God indeed!

THE ENVOY [coming between his wife and Zoo] I don't know any history: a modern Prime Minister has something better to do than sit reading books; but&mdash;

THE ELDERLY GENTLEMAN [interrupting him encouragingly] You make history, Ambrose.

THE ENVOY. Well, perhaps I do; and perhaps history makes me. I hardly recognize myself in the newspapers sometimes, though I suppose leading articles are the materials of history, as you might say. But what I want to know is, how did war come back again? and how did they make those poisonous gases you speak of? We should be glad to know; for they might come in very handy if we have to fight Turania. Of course I am all for peace, and don't hold with the race of armaments in principle; still, we must keep ahead or be wiped out.

ZOO. You can make the gases for yourselves when your chemists find out how. Then you will do as you did before: poison each other until there are no chemists left, and no civilization. You will then begin all over again as half-starved ignorant savages, and fight with boomerangs and poisoned arrows until you work up to the poison gases and high explosives once more, with the same result. That is, unless we have sense enough to make an end of this ridiculous game by destroying you.

THE ENVOY [aghast] Destroying us!

THE ELDERLY GENTLEMAN. I told you, Ambrose. I warned you.

THE ENVOY. But&mdash;

ZOO [impatiently] I wonder what Zozim is doing. He ought to be here to receive you.

THE ELDERLY GENTLEMAN. Do you mean that rather insufferable young man whom you found boring me on the pier?

ZOO. Yes. He has to dress-up in a Druid's robe, and put on a wig and a long false beard, to impress you silly people. I have to put on a purple mantle. I have no patience with such mummery; but you expect it from us; so I suppose it must be kept up. Will you wait here until Zozim comes, please [she turns to enter the temple].

THE ENVOY. My good lady, is it worth while dressing-up and putting on false beards for us if you tell us beforehand that it is all humbug?

ZOO. One would not think so; but if you wont believe in anyone who is not dressed-up, why, we must dress-up for you. It was you who invented all this nonsense, not we.

THE ELDERLY GENTLEMAN. But do you expect us to be impressed after this?

ZOO. I don't expect anything. I know, as a matter of experience, that you will be impressed. The oracle will frighten you out of your wits. [She goes into the temple].