<h2><SPAN name="chap03"></SPAN>ACT III</h2>
<p>Early next morning the sergeant, at the British headquarters in the Town Hall,
unlocks the door of a little empty panelled waiting room, and invites Judith to
enter. She has had a bad night, probably a rather delirious one; for even in
the reality of the raw morning, her fixed gaze comes back at moments when her
attention is not strongly held.</p>
<p>The sergeant considers that her feelings do her credit, and is sympathetic in
an encouraging military way. Being a fine figure of a man, vain of his uniform
and of his rank, he feels specially qualified, in a respectful way, to console
her.</p>
<p class="drama">
THE SERGEANT.<br/>
You can have a quiet word with him here, mum.</p>
<p class="drama">
JUDITH.<br/>
Shall I have long to wait?</p>
<p class="drama">
THE SERGEANT.<br/>
No, mum, not a minute. We kep him in the Bridewell for the night; and
he’s just been brought over here for the court martial. Don’t fret,
mum: he slep like a child, and has made a rare good breakfast.</p>
<p class="drama">
JUDITH.<br/>
(<i>incredulously</i>). He is in good spirits!</p>
<p class="drama">
THE SERGEANT.<br/>
Tip top, mum. The chaplain looked in to see him last night; and he won
seventeen shillings off him at spoil five. He spent it among us like the
gentleman he is. Duty’s duty, mum, of course; but you’re among
friends here. (<i>The tramp of a couple of soldiers is heard approaching.</i>)
There: I think he’s coming. (<i>Richard comes in, without a sign of care
or captivity in his bearing. The sergeant nods to the two soldiers, and shows
them the key of the room in his hand. They withdraw.</i>) Your good lady, sir.</p>
<p class="drama">
RICHARD.<br/>
(<i>going to her</i>). What! My wife. My adored one. (<i>He takes her hand and
kisses it with a perverse, raffish gallantry.</i>) How long do you allow a
brokenhearted husband for leave-taking, Sergeant?</p>
<p class="drama">
THE SERGEANT.<br/>
As long as we can, sir. We shall not disturb you till the court sits.</p>
<p class="drama">
RICHARD.<br/>
But it has struck the hour.</p>
<p class="drama">
THE SERGEANT.<br/>
So it has, sir; but there’s a delay. General Burgoyne’s just
arrived—Gentlemanly Johnny we call him, sir—and he won’t have
done finding fault with everything this side of half past. I know him, sir: I
served with him in Portugal. You may count on twenty minutes, sir; and by your
leave I won’t waste any more of them. (<i>He goes out, locking the door.
Richard immediately drops his raffish manner and turns to Judith with
considerate sincerity.</i>)</p>
<p class="drama">
RICHARD.<br/>
Mrs. Anderson: this visit is very kind of you. And how are you after last
night? I had to leave you before you recovered; but I sent word to Essie to go
and look after you. Did she understand the message?</p>
<p class="drama">
JUDITH.<br/>
(<i>breathless and urgent</i>). Oh, don’t think of me: I haven’t
come here to talk about myself. Are they going to—to— (<i>meaning
“to hang you”</i>)?</p>
<p class="drama">
RICHARD.<br/>
(<i>whimsically</i>). At noon, punctually. At least, that was when they
disposed of Uncle Peter. (<i>She shudders.</i>) Is your husband safe? Is he on
the wing?</p>
<p class="drama">
JUDITH.<br/>
He is no longer my husband.</p>
<p class="drama">
RICHARD.<br/>
(<i>opening his eyes wide</i>). Eh!</p>
<p class="drama">
JUDITH.<br/>
I disobeyed you. I told him everything. I expected him to come here and save
you. I wanted him to come here and save you. He ran away instead.</p>
<p class="drama">
RICHARD.<br/>
Well, that’s what I meant him to do. What good would his staying have
done? They’d only have hanged us both.</p>
<p class="drama">
JUDITH.<br/>
(<i>with reproachful earnestness</i>). Richard Dudgeon: on your honour, what
would you have done in his place?</p>
<p class="drama">
RICHARD.<br/>
Exactly what he has done, of course.</p>
<p class="drama">
JUDITH.<br/>
Oh, why will you not be simple with me—honest and straightforward? If you
are so selfish as that, why did you let them take you last night?</p>
<p class="drama">
RICHARD.<br/>
(<i>gaily</i>). Upon my life, Mrs. Anderson, I don’t know. I’ve
been asking myself that question ever since; and I can find no manner of reason
for acting as I did.</p>
<p class="drama">
JUDITH.<br/>
You know you did it for his sake, believing he was a more worthy man than
yourself.</p>
<p class="drama">
RICHARD.<br/>
(<i>laughing</i>). Oho! No: that’s a very pretty reason, I must say; but
I’m not so modest as that. No: it wasn’t for his sake.</p>
<p class="drama">
JUDITH.<br/>
(<i>after a pause, during which she looks shamefacedly at him, blushing
painfully</i>). Was it for my sake?</p>
<p class="drama">
RICHARD.<br/>
(<i>gallantly</i>). Well, you had a hand in it. It must have been a little for
your sake. You let them take me, at all events.</p>
<p class="drama">
JUDITH.<br/>
Oh, do you think I have not been telling myself that all night? Your death will
be at my door. (<i>Impulsively, she gives him her hand, and adds, with intense
earnestness</i>) If I could save you as you saved him, I would do it, no matter
how cruel the death was.</p>
<p class="drama">
RICHARD.<br/>
(<i>holding her hand and smiling, but keeping her almost at arm’s
length</i>). I am very sure I shouldn’t let you.</p>
<p class="drama">
JUDITH.<br/>
Don’t you see that I can save you?</p>
<p class="drama">
RICHARD.<br/>
How? By changing clothes with me, eh?</p>
<p class="drama">
JUDITH.<br/>
(<i>disengaging her hand to touch his lips with it</i>). Don’t
(<i>meaning “Don’t jest”</i>). No: by telling the Court who
you really are.</p>
<p class="drama">
RICHARD.<br/>
(<i>frowning</i>). No use: they wouldn’t spare me; and it would spoil
half of his chance of escaping. They are determined to cow us by making an
example of somebody on that gallows to-day. Well, let us cow them by showing
that we can stand by one another to the death. That is the only force that can
send Burgoyne back across the Atlantic and make America a nation.</p>
<p class="drama">
JUDITH.<br/>
(<i>impatiently</i>). Oh, what does all that matter?</p>
<p class="drama">
RICHARD.<br/>
(<i>laughing</i>). True: what does it matter? what does anything matter? You
see, men have these strange notions, Mrs. Anderson; and women see the folly of
them.</p>
<p class="drama">
JUDITH.<br/>
Women have to lose those they love through them.</p>
<p class="drama">
RICHARD.<br/>
They can easily get fresh lovers.</p>
<p class="drama">
JUDITH.<br/>
(<i>revolted</i>). Oh! (<i>Vehemently</i>) Do you realise that you are going to
kill yourself?</p>
<p class="drama">
RICHARD.<br/>
The only man I have any right to kill, Mrs. Anderson. Don’t be concerned:
no woman will lose her lover through my death. (<i>Smiling</i>) Bless you,
nobody cares for me. Have you heard that my mother is dead?</p>
<p class="drama">
JUDITH.<br/>
Dead!</p>
<p class="drama">
RICHARD.<br/>
Of heart disease—in the night. Her last word to me was her curse: I
don’t think I could have borne her blessing. My other relatives will not
grieve much on my account. Essie will cry for a day or two; but I have provided
for her: I made my own will last night.</p>
<p class="drama">
JUDITH.<br/>
(<i>stonily, after a moment’s silence</i>). And I!</p>
<p class="drama">
RICHARD.<br/>
(<i>surprised</i>). You?</p>
<p class="drama">
JUDITH.<br/>
Yes, I. Am I not to care at all?</p>
<p class="drama">
RICHARD.<br/>
(<i>gaily and bluntly</i>). Not a scrap. Oh, you expressed your feelings
towards me very frankly yesterday. What happened may have softened you for the
moment; but believe me, Mrs. Anderson, you don’t like a bone in my skin
or a hair on my head. I shall be as good a riddance at 12 today as I should
have been at 12 yesterday.</p>
<p class="drama">
JUDITH.<br/>
(<i>her voice trembling</i>). What can I do to show you that you are mistaken?</p>
<p class="drama">
RICHARD.<br/>
Don’t trouble. I’ll give you credit for liking me a little better
than you did. All I say is that my death will not break your heart.</p>
<p class="drama">
JUDITH.<br/>
(<i>almost in a whisper</i>). How do you know? (<i>She puts her hands on his
shoulders and looks intently at him.</i>)</p>
<p class="drama">
RICHARD.<br/>
(<i>amazed—divining the truth</i>). Mrs. Anderson!!! (<i>The bell of the
town clock strikes the quarter. He collects himself, and removes her hands,
saying rather coldly</i>) Excuse me: they will be here for me presently. It is
too late.</p>
<p class="drama">
JUDITH.<br/>
It is not too late. Call me as witness: they will never kill you when they know
how heroically you have acted.</p>
<p class="drama">
RICHARD.<br/>
(<i>with some scorn</i>). Indeed! But if I don’t go through with it,
where will the heroism be? I shall simply have tricked them; and they’ll
hang me for that like a dog. Serve me right too!</p>
<p class="drama">
JUDITH.<br/>
(<i>wildly</i>). Oh, I believe you WANT to die.</p>
<p class="drama">
RICHARD.<br/>
(<i>obstinately</i>). No I don’t.</p>
<p class="drama">
JUDITH.<br/>
Then why not try to save yourself? I implore you—listen. You said just
now that you saved him for my sake—yes (<i>clutching him as he recoils
with a gesture of denial</i>) a little for my sake. Well, save yourself for my
sake. And I will go with you to the end of the world.</p>
<p class="drama">
RICHARD.<br/>
(<i>taking her by the wrists and holding her a little way from him, looking
steadily at her</i>). Judith.</p>
<p class="drama">
JUDITH.<br/>
(<i>breathless—delighted at the name</i>). Yes.</p>
<p class="drama">
RICHARD.<br/>
If I said—to please you—that I did what I did ever so little for
your sake, I lied as men always lie to women. You know how much I have lived
with worthless men—aye, and worthless women too. Well, they could all
rise to some sort of goodness and kindness when they were in love. (<i>The word
love comes from him with true Puritan scorn.</i>) That has taught me to set
very little store by the goodness that only comes out red hot. What I did last
night, I did in cold blood, caring not half so much for your husband, or
(<i>ruthlessly</i>) for you (<i>she droops, stricken</i>) as I do for myself. I
had no motive and no interest: all I can tell you is that when it came to the
point whether I would take my neck out of the noose and put another man’s
into it, I could not do it. I don’t know why not: I see myself as a fool
for my pains; but I could not and I cannot. I have been brought up standing by
the law of my own nature; and I may not go against it, gallows or no gallows.
(<i>She has slowly raised her head and is now looking full at him.</i>) I
should have done the same for any other man in the town, or any other
man’s wife. (<i>Releasing her.</i>) Do you understand that?</p>
<p class="drama">
JUDITH.<br/>
Yes: you mean that you do not love me.</p>
<p class="drama">
RICHARD.<br/>
(<i>revolted—with fierce contempt</i>). Is that all it means to you?</p>
<p class="drama">
JUDITH.<br/>
What more—what worse—can it mean to me?</p>
<p class="stage">
(<i>The sergeant knocks. The blow on the door jars on her heart.</i>) Oh, one
moment more. (<i>She throws herself on her knees.</i>) I pray to you—</p>
<p class="drama">
RICHARD.<br/>
Hush! (<i>Calling</i>) Come in. (<i>The sergeant unlocks the door and opens it.
The guard is with him.</i>)</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>coming in</i>). Time’s up, sir.</p>
<p class="drama">
RICHARD.<br/>
Quite ready, Sergeant. Now, my dear. (<i>He attempts to raise her.</i>)</p>
<p class="drama">
JUDITH.<br/>
(<i>clinging to him</i>). Only one thing more—I entreat, I implore you.
Let me be present in the court. I have seen Major Swindon: he said I should be
allowed if you asked it. You will ask it. It is my last request: I shall never
ask you anything again. (<i>She clasps his knee.</i>) I beg and pray it of you.</p>
<p class="drama">
RICHARD.<br/>
If I do, will you be silent?</p>
<p class="drama">
JUDITH.<br/>
Yes.</p>
<p class="drama">
RICHARD.<br/>
You will keep faith?</p>
<p class="drama">
JUDITH.<br/>
I will keep— (<i>She breaks down, sobbing.</i>)</p>
<p class="drama">
RICHARD.<br/>
(<i>taking her arm to lift her</i>). Just—her other arm, Sergeant.</p>
<p class="stage">
They go out, she sobbing convulsively, supported by the two men.</p>
<p>Meanwhile, the Council Chamber is ready for the court martial. It is a large,
lofty room, with a chair of state in the middle under a tall canopy with a gilt
crown, and maroon curtains with the royal monogram G. R. In front of the chair
is a table, also draped in maroon, with a bell, a heavy inkstand, and writing
materials on it. Several chairs are set at the table. The door is at the right
hand of the occupant of the chair of state when it has an occupant: at present
it is empty. Major Swindon, a pale, sandy-haired, very conscientious looking
man of about 45, sits at the end of the table with his back to the door,
writing. He is alone until the sergeant announces the General in a subdued
manner which suggests that Gentlemanly Johnny has been making his presence felt
rather heavily.</p>
<p class="drama">
THE SERGEANT.<br/>
The General, sir.</p>
<p class="stage">
Swindon rises hastily. The General comes in, the sergeant goes out. General
Burgoyne is 55, and very well preserved. He is a man of fashion, gallant enough
to have made a distinguished marriage by an elopement, witty enough to write
successful comedies, aristocratically-connected enough to have had
opportunities of high military distinction. His eyes, large, brilliant,
apprehensive, and intelligent, are his most remarkable feature: without them
his fine nose and small mouth would suggest rather more fastidiousness and less
force than go to the making of a first rate general. Just now the eyes are
angry and tragic, and the mouth and nostrils tense.</p>
<p class="drama">
BURGOYNE.<br/>
Major Swindon, I presume.</p>
<p class="drama">
SWINDON.<br/>
Yes. General Burgoyne, if I mistake not. (<i>They bow to one another
ceremoniously.</i>) I am glad to have the support of your presence this
morning. It is not particularly lively business, hanging this poor devil of a
minister.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>throwing himself onto Swindon’s chair</i>). No, sir, it is not. It is
making too much of the fellow to execute him: what more could you have done if
he had been a member of the Church of England? Martyrdom, sir, is what these
people like: it is the only way in which a man can become famous without
ability. However, you have committed us to hanging him: and the sooner he is
hanged the better.</p>
<p class="drama">
SWINDON.<br/>
We have arranged it for 12 o’clock. Nothing remains to be done except to
try him.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>looking at him with suppressed anger</i>). Nothing—except to save our
own necks, perhaps. Have you heard the news from Springtown?</p>
<p class="drama">
SWINDON.<br/>
Nothing special. The latest reports are satisfactory.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>rising in amazement</i>). Satisfactory, sir! Satisfactory!! (<i>He stares
at him for a moment, and then adds, with grim intensity</i>) I am glad you take
that view of them.</p>
<p class="drama">
SWINDON.<br/>
(<i>puzzled</i>). Do I understand that in your opinion—</p>
<p class="drama">
BURGOYNE.<br/>
I do not express my opinion. I never stoop to that habit of profane language
which unfortunately coarsens our profession. If I did, sir, perhaps I should be
able to express my opinion of the news from Springtown—the news which YOU
(<i>severely</i>) have apparently not heard. How soon do you get news from your
supports here?—in the course of a month eh?</p>
<p class="drama">
SWINDON.<br/>
(<i>turning sulky</i>). I suppose the reports have been taken to you, sir,
instead of to me. Is there anything serious?</p>
<p class="drama">
BURGOYNE.<br/>
(<i>taking a report from his pocket and holding it up</i>). Springtown’s
in the hands of the rebels. (<i>He throws the report on the table.</i>)</p>
<p class="drama">
SWINDON.<br/>
(<i>aghast</i>). Since yesterday!</p>
<p class="drama">
BURGOYNE.<br/>
Since two o’clock this morning. Perhaps WE shall be in their hands before
two o’clock to-morrow morning. Have you thought of that?</p>
<p class="drama">
SWINDON.<br/>
(<i>confidently</i>). As to that, General, the British soldier will give a good
account of himself.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>bitterly</i>). And therefore, I suppose, sir, the British officer need not
know his business: the British soldier will get him out of all his blunders
with the bayonet. In future, sir, I must ask you to be a little less generous
with the blood of your men, and a little more generous with your own brains.</p>
<p class="drama">
SWINDON.<br/>
I am sorry I cannot pretend to your intellectual eminence, sir. I can only do
my best, and rely on the devotion of my countrymen.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>suddenly becoming suavely sarcastic</i>). May I ask are you writing a
melodrama, Major Swindon?</p>
<p class="drama">
SWINDON.<br/>
(<i>flushing</i>). No, sir.</p>
<p class="drama">
BURGOYNE.<br/>
What a pity! WHAT a pity! (<i>Dropping his sarcastic tone and facing him
suddenly and seriously</i>) Do you at all realize, sir, that we have nothing
standing between us and destruction but our own bluff and the sheepishness of
these colonists? They are men of the same English stock as ourselves: six to
one of us (<i>repeating it emphatically</i>), six to one, sir; and nearly half
our troops are Hessians, Brunswickers, German dragoons, and Indians with
scalping knives. These are the countrymen on whose devotion you rely! Suppose
the colonists find a leader! Suppose the news from Springtown should turn out
to mean that they have already found a leader! What shall we do then? Eh?</p>
<p class="drama">
SWINDON.<br/>
(<i>sullenly</i>). Our duty, sir, I presume.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>again sarcastic—giving him up as a fool</i>). Quite so, quite so.
Thank you, Major Swindon, thank you. Now you’ve settled the question,
sir—thrown a flood of light on the situation. What a comfort to me to
feel that I have at my side so devoted and able an officer to support me in
this emergency! I think, sir, it will probably relieve both our feelings if we
proceed to hang this dissenter without further delay (<i>he strikes the
bell</i>), especially as I am debarred by my principles from the customary
military vent for my feelings. (<i>The sergeant appears.</i>) Bring your man
in.</p>
<p class="drama">
THE SERGEANT.<br/>
Yes, sir.</p>
<p class="drama">
BURGOYNE.<br/>
And mention to any officer you may meet that the court cannot wait any longer
for him.</p>
<p class="drama">
SWINDON.<br/>
(<i>keeping his temper with difficulty</i>). The staff is perfectly ready, sir.
They have been waiting your convenience for fully half an hour. PERFECTLY
ready, sir.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>blandly</i>). So am I. (<i>Several officers come in and take their seats.
One of them sits at the end of the table furthest from the door, and acts
throughout as clerk to the court, making notes of the proceedings. The uniforms
are those of the 9th, 20th, 21st, 24th, 47th, 53rd, and 62nd British Infantry.
One officer is a Major General of the Royal Artillery. There are also German
officers of the Hessian Rifles, and of German dragoon and Brunswicker
regiments.</i>) Oh, good morning, gentlemen. Sorry to disturb you, I am sure.
Very good of you to spare us a few moments.</p>
<p class="drama">
SWINDON.<br/>
Will you preside, sir?</p>
<p class="drama">
BURGOYNE.<br/>
(<i>becoming additionally, polished, lofty, sarcastic and urbane now that he is
in public</i>). No, sir: I feel my own deficiencies too keenly to presume so
far. If you will kindly allow me, I will sit at the feet of Gamaliel. (<i>He
takes the chair at the end of the table next the door, and motions Swindon to
the chair of state, waiting for him to be seated before sitting himself.</i>)</p>
<p class="drama">
SWINDON.<br/>
(<i>greatly annoyed</i>). As you please, sir. I am only trying to do my duty
under excessively trying circumstances. (<i>He takes his place in the chair of
state.</i>)</p>
<p class="stage">
Burgoyne, relaxing his studied demeanor for the moment, sits down and begins to
read the report with knitted brows and careworn looks, reflecting on his
desperate situation and Swindon’s uselessness. Richard is brought in.
Judith walks beside him. Two soldiers precede and two follow him, with the
sergeant in command. They cross the room to the wall opposite the door; but
when Richard has just passed before the chair of state the sergeant stops him
with a touch on the arm, and posts himself behind him, at his elbow. Judith
stands timidly at the wall. The four soldiers place themselves in a squad near
her.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>looking up and seeing Judith</i>). Who is that woman?</p>
<p class="drama">
THE SERGEANT.<br/>
Prisoner’s wife, sir.</p>
<p class="drama">
SWINDON.<br/>
(<i>nervously</i>). She begged me to allow her to be present; and I
thought—</p>
<p class="drama">
BURGOYNE.<br/>
(<i>completing the sentence for him ironically</i>). You thought it would be a
pleasure for her. Quite so, quite so. (<i>Blandly</i>) Give the lady a chair;
and make her thoroughly comfortable.</p>
<p class="stage">
The sergeant fetches a chair and places it near Richard.</p>
<p class="drama">
JUDITH.<br/>
Thank you, sir. (<i>She sits down after an awe-stricken curtsy to Burgoyne,
which he acknowledges by a dignified bend of his head.</i>)</p>
<p class="drama">
SWINDON.<br/>
(<i>to Richard, sharply</i>). Your name, sir?</p>
<p class="drama">
RICHARD.<br/>
(<i>affable, but obstinate</i>). Come: you don’t mean to say that
you’ve brought me here without knowing who I am?</p>
<p class="drama">
SWINDON.<br/>
As a matter of form, sir, give your name.</p>
<p class="drama">
RICHARD.<br/>
As a matter of form then, my name is Anthony Anderson, Presbyterian minister in
this town.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>interested</i>). Indeed! Pray, Mr. Anderson, what do you gentlemen believe?</p>
<p class="drama">
RICHARD.<br/>
I shall be happy to explain if time is allowed me. I cannot undertake to
complete your conversion in less than a fortnight.</p>
<p class="drama">
SWINDON.<br/>
(<i>snubbing him</i>). We are not here to discuss your views.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>with an elaborate bow to the unfortunate Swindon</i>). I stand rebuked.</p>
<p class="drama">
SWINDON.<br/>
(<i>embarrassed</i>). Oh, not you, I as—</p>
<p class="drama">
BURGOYNE.<br/>
Don’t mention it. (<i>To Richard, very politely</i>) Any political views,
Mr. Anderson?</p>
<p class="drama">
RICHARD.<br/>
I understand that that is just what we are here to find out.</p>
<p class="drama">
SWINDON.<br/>
(<i>severely</i>). Do you mean to deny that you are a rebel?</p>
<p class="drama">
RICHARD.<br/>
I am an American, sir.</p>
<p class="drama">
SWINDON.<br/>
What do you expect me to think of that speech, Mr. Anderson?</p>
<p class="drama">
RICHARD.<br/>
I never expect a soldier to think, sir.</p>
<p class="stage">
Burgoyne is boundlessly delighted by this retort, which almost reconciles him
to the loss of America.</p>
<p class="drama">
SWINDON.<br/>
(<i>whitening with anger</i>). I advise you not to be insolent, prisoner.</p>
<p class="drama">
RICHARD.<br/>
You can’t help yourself, General. When you make up your mind to hang a
man, you put yourself at a disadvantage with him. Why should I be civil to you?
I may as well be hanged for a sheep as a lamb.</p>
<p class="drama">
SWINDON.<br/>
You have no right to assume that the court has made up its mind without a fair
trial. And you will please not address me as General. I am Major Swindon.</p>
<p class="drama">
RICHARD.<br/>
A thousand pardons. I thought I had the honor of addressing Gentlemanly Johnny.</p>
<p class="stage">
Sensation among the officers. The sergeant has a narrow escape from a guffaw.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>with extreme suavity</i>). I believe I am Gentlemanly Johnny, sir, at your
service. My more intimate friends call me General Burgoyne. (<i>Richard bows
with perfect politeness.</i>) You will understand, sir, I hope, since you seem
to be a gentleman and a man of some spirit in spite of your calling, that if we
should have the misfortune to hang you, we shall do so as a mere matter of
political necessity and military duty, without any personal ill-feeling.</p>
<p class="drama">
RICHARD.<br/>
Oh, quite so. That makes all the difference in the world, of course.</p>
<p class="stage">
They all smile in spite of themselves: and some of the younger officers burst
out laughing.</p>
<p class="drama">
JUDITH.<br/>
(<i>her dread and horror deepening at every one of these jests and
compliments</i>). How CAN you?</p>
<p class="drama">
RICHARD.<br/>
You promised to be silent.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>to Judith, with studied courtesy</i>). Believe me, madam, your husband is
placing us under the greatest obligation by taking this very disagreeable
business so thoroughly in the spirit of a gentleman. Sergeant: give Mr.
Anderson a chair. (<i>The sergeant does so. Richard sits down.</i>) Now, Major
Swindon: we are waiting for you.</p>
<p class="drama">
SWINDON.<br/>
You are aware, I presume, Mr. Anderson, of your obligations as a subject of His
Majesty King George the Third.</p>
<p class="drama">
RICHARD.<br/>
I am aware, sir, that His Majesty King George the Third is about to hang me
because I object to Lord North’s robbing me.</p>
<p class="drama">
SWINDON.<br/>
That is a treasonable speech, sir.</p>
<p class="drama">
RICHARD.<br/>
(<i>briefly</i>). Yes. I meant it to be.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>strongly deprecating this line of defence, but still polite</i>).
Don’t you think, Mr. Anderson, that this is rather—if you will
excuse the word—a vulgar line to take? Why should you cry out robbery
because of a stamp duty and a tea duty and so forth? After all, it is the
essence of your position as a gentleman that you pay with a good grace.</p>
<p class="drama">
RICHARD.<br/>
It is not the money, General. But to be swindled by a pig-headed lunatic like
King George.</p>
<p class="drama">
SWINDON.<br/>
(<i>scandalised</i>). Chut, sir—silence!</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>in stentorian tones, greatly shocked</i>). Silence!</p>
<p class="drama">
BURGOYNE.<br/>
(<i>unruffled</i>). Ah, that is another point of view. My position does not
allow of my going into that, except in private. But (<i>shrugging his
shoulders</i>) of course, Mr. Anderson, if you are determined to be hanged
(<i>Judith flinches</i>), there’s nothing more to be said. An unusual
taste! however (<i>with a final shrug</i>)—!</p>
<p class="drama">
SWINDON.<br/>
(<i>to Burgoyne</i>). Shall we call witnesses?</p>
<p class="drama">
RICHARD.<br/>
What need is there of witnesses? If the townspeople here had listened to me,
you would have found the streets barricaded, the houses loopholed, and the
people in arms to hold the town against you to the last man. But you arrived,
unfortunately, before we had got out of the talking stage; and then it was too
late.</p>
<p class="drama">
SWINDON.<br/>
(<i>severely</i>). Well, sir, we shall teach you and your townspeople a lesson
they will not forget. Have you anything more to say?</p>
<p class="drama">
RICHARD.<br/>
I think you might have the decency to treat me as a prisoner of war, and shoot
me like a man instead of hanging me like a dog.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>sympathetically</i>). Now there, Mr. Anderson, you talk like a civilian, if
you will excuse my saying so. Have you any idea of the average marksmanship of
the army of His Majesty King George the Third? If we make you up a firing
party, what will happen? Half of them will miss you: the rest will make a mess
of the business and leave you to the provo-marshal’s pistol. Whereas we
can hang you in a perfectly workmanlike and agreeable way. (<i>Kindly</i>) Let
me persuade you to be hanged, Mr. Anderson?</p>
<p class="drama">
JUDITH.<br/>
(<i>sick with horror</i>). My God!</p>
<p class="drama">
RICHARD.<br/>
(<i>to Judith</i>). Your promise! (<i>To Burgoyne</i>) Thank you, General: that
view of the case did not occur to me before. To oblige you, I withdraw my
objection to the rope. Hang me, by all means.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>smoothly</i>). Will 12 o’clock suit you, Mr. Anderson?</p>
<p class="drama">
RICHARD.<br/>
I shall be at your disposal then, General.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>rising</i>). Nothing more to be said, gentlemen. (<i>They all rise.</i>)</p>
<p class="drama">
JUDITH.<br/>
(<i>rushing to the table</i>). Oh, you are not going to murder a man like that,
without a proper trial—without thinking of what you are
doing—without— (<i>She cannot find words.</i>)</p>
<p class="drama">
RICHARD.<br/>
Is this how you keep your promise?</p>
<p class="drama">
JUDITH.<br/>
If I am not to speak, you must. Defend yourself: save yourself: tell them the
truth.</p>
<p class="drama">
RICHARD.<br/>
(<i>worriedly</i>). I have told them truth enough to hang me ten times over. If
you say another word you will risk other lives; but you will not save mine.</p>
<p class="drama">
BURGOYNE.<br/>
My good lady, our only desire is to save unpleasantness. What satisfaction
would it give you to have a solemn fuss made, with my friend Swindon in a black
cap and so forth? I am sure we are greatly indebted to the admirable tact and
gentlemanly feeling shown by your husband.</p>
<p class="drama">
JUDITH.<br/>
(<i>throwing the words in his face</i>). Oh, you are mad. Is it nothing to you
what wicked thing you do if only you do it like a gentleman? Is it nothing to
you whether you are a murderer or not, if only you murder in a red coat?
(<i>Desperately</i>) You shall not hang him: that man is not my husband.</p>
<p class="stage">
The officers look at one another, and whisper: some of the Germans asking their
neighbors to explain what the woman has said. Burgoyne, who has been visibly
shaken by Judith’s reproach, recovers himself promptly at this new
development. Richard meanwhile raises his voice above the buzz.</p>
<p class="drama">
RICHARD.<br/>
I appeal to you, gentlemen, to put an end to this. She will not believe that
she cannot save me. Break up the court.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>in a voice so quiet and firm that it restores silence at once</i>). One
moment, Mr. Anderson. One moment, gentlemen. (<i>He resumes his seat. Swindon
and the officers follow his example.</i>) Let me understand you clearly, madam.
Do you mean that this gentleman is not your husband, or merely—I wish to
put this with all delicacy—that you are not his wife?</p>
<p class="drama">
JUDITH.<br/>
I don’t know what you mean. I say that he is not my husband—that my
husband has escaped. This man took his place to save him. Ask anyone in the
town—send out into the street for the first person you find there, and
bring him in as a witness. He will tell you that the prisoner is not Anthony
Anderson.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>quietly, as before</i>). Sergeant.</p>
<p class="drama">
THE SERGEANT.<br/>
Yes sir.</p>
<p class="drama">
BURGOYNE.<br/>
Go out into the street and bring in the first townsman you see there.</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>making for the door</i>). Yes sir.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>as the sergeant passes</i>). The first clean, sober townsman you see.</p>
<p class="drama">
THE SERGEANT.<br/>
Yes Sir. (<i>He goes out.</i>)</p>
<p class="drama">
BURGOYNE.<br/>
Sit down, Mr. Anderson—if I may call you so for the present. (<i>Richard
sits down.</i>) Sit down, madam, whilst we wait. Give the lady a newspaper.</p>
<p class="drama">
RICHARD.<br/>
(<i>indignantly</i>). Shame!</p>
<p class="drama">
BURGOYNE.<br/>
(<i>keenly, with a half smile</i>). If you are not her husband, sir, the case
is not a serious one—for her. (<i>Richard bites his lip silenced.</i>)</p>
<p class="drama">
JUDITH.<br/>
(<i>to Richard, as she returns to her seat</i>). I couldn’t help it.
(<i>He shakes his head. She sits down.</i>)</p>
<p class="drama">
BURGOYNE.<br/>
You will understand of course, Mr. Anderson, that you must not build on this
little incident. We are bound to make an example of somebody.</p>
<p class="drama">
RICHARD.<br/>
I quite understand. I suppose there’s no use in my explaining.</p>
<p class="drama">
BURGOYNE.<br/>
I think we should prefer independent testimony, if you don’t mind.</p>
<p class="stage">
The sergeant, with a packet of papers in his hand, returns conducting Christy,
who is much scared.</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>giving Burgoyne the packet</i>). Dispatches, Sir. Delivered by a corporal
of the 53rd. Dead beat with hard riding, sir.</p>
<p class="stage">
Burgoyne opens the dispatches, and presently becomes absorbed in them. They are
so serious as to take his attention completely from the court martial.</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>to Christy</i>). Now then. Attention; and take your hat off. (<i>He posts
himself in charge of Christy, who stands on Burgoyne’s side of the
court.</i>)</p>
<p class="drama">
RICHARD.<br/>
(<i>in his usual bullying tone to Christy</i>). Don’t be frightened, you
fool: you’re only wanted as a witness. They’re not going to hang
YOU.</p>
<p class="drama">
SWINDON.<br/>
What’s your name?</p>
<p class="drama">
CHRISTY.<br/>
Christy.</p>
<p class="drama">
RICHARD.<br/>
(<i>impatiently</i>). Christopher Dudgeon, you blatant idiot. Give your full
name.</p>
<p class="drama">
SWINDON.<br/>
Be silent, prisoner. You must not prompt the witness.</p>
<p class="drama">
RICHARD.<br/>
Very well. But I warn you you’ll get nothing out of him unless you shake
it out of him. He has been too well brought up by a pious mother to have any
sense or manhood left in him.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>springing up and speaking to the sergeant in a startling voice</i>). Where
is the man who brought these?</p>
<p class="drama">
THE SERGEANT.<br/>
In the guard-room, sir.</p>
<p class="stage">
Burgoyne goes out with a haste that sets the officers exchanging looks.</p>
<p class="drama">
SWINDON.<br/>
(<i>to Christy</i>). Do you know Anthony Anderson, the Presbyterian minister?</p>
<p class="drama">
CHRISTY.<br/>
Of course I do. (<i>Implying that Swindon must be an ass not to know it.</i>)</p>
<p class="drama">
SWINDON.<br/>
Is he here?</p>
<p class="drama">
CHRISTY.<br/>
(<i>staring round</i>). I don’t know.</p>
<p class="drama">
SWINDON.<br/>
Do you see him?</p>
<p class="drama">
CHRISTY.<br/>
No.</p>
<p class="drama">
SWINDON.<br/>
You seem to know the prisoner?</p>
<p class="drama">
CHRISTY.<br/>
Do you mean Dick?</p>
<p class="drama">
SWINDON.<br/>
Which is Dick?</p>
<p class="drama">
CHRISTY.<br/>
(<i>pointing to Richard</i>). Him.</p>
<p class="drama">
SWINDON.<br/>
What is his name?</p>
<p class="drama">
CHRISTY.<br/>
Dick.</p>
<p class="drama">
RICHARD.<br/>
Answer properly, you jumping jackass. What do they know about Dick?</p>
<p class="drama">
CHRISTY.<br/>
Well, you are Dick, ain’t you? What am I to say?</p>
<p class="drama">
SWINDON.<br/>
Address me, sir; and do you, prisoner, be silent. Tell us who the prisoner is.</p>
<p class="drama">
CHRISTY.<br/>
He’s my brother Dudgeon.</p>
<p class="drama">
SWINDON.<br/>
Your brother!</p>
<p class="drama">
CHRISTY.<br/>
Yes.</p>
<p class="drama">
SWINDON.<br/>
You are sure he is not Anderson.</p>
<p class="drama">
CHRISTY.<br/>
Who?</p>
<p class="drama">
RICHARD.<br/>
(<i>exasperatedly</i>). Me, me, me, you—</p>
<p class="drama">
SWINDON.<br/>
Silence, sir.</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>shouting</i>). Silence.</p>
<p class="drama">
RICHARD.<br/>
(<i>impatiently</i>). Yah! (<i>To Christy</i>) He wants to know am I Minister
Anderson. Tell him, and stop grinning like a zany.</p>
<p class="drama">
CHRISTY.<br/>
(<i>grinning more than ever</i>). YOU Pastor Anderson! (<i>To Swindon</i>) Why,
Mr. Anderson’s a minister—-a very good man; and Dick’s a bad
character: the respectable people won’t speak to him. He’s the bad
brother: I’m the good one, (<i>The officers laugh outright. The soldiers
grin.</i>)</p>
<p class="drama">
SWINDON.<br/>
Who arrested this man?</p>
<p class="drama">
THE SERGEANT.<br/>
I did, sir. I found him in the minister’s house, sitting at tea with the
lady with his coat off, quite at home. If he isn’t married to her, he
ought to be.</p>
<p class="drama">
SWINDON.<br/>
Did he answer to the minister’s name?</p>
<p class="drama">
THE SERGEANT.<br/>
Yes sir, but not to a minister’s nature. You ask the chaplain, sir.</p>
<p class="drama">
SWINDON.<br/>
(<i>to Richard, threateningly</i>). So, sir, you have attempted to cheat us.
And your name is Richard Dudgeon?</p>
<p class="drama">
RICHARD.<br/>
You’ve found it out at last, have you?</p>
<p class="drama">
SWINDON.<br/>
Dudgeon is a name well known to us, eh?</p>
<p class="drama">
RICHARD.<br/>
Yes: Peter Dudgeon, whom you murdered, was my uncle.</p>
<p class="drama">
SWINDON.<br/>
Hm! (<i>He compresses his lips and looks at Richard with vindictive
gravity.</i>)</p>
<p class="drama">
CHRISTY.<br/>
Are they going to hang you, Dick?</p>
<p class="drama">
RICHARD.<br/>
Yes. Get out: they’ve done with you.</p>
<p class="drama">
CHRISTY.<br/>
And I may keep the china peacocks?</p>
<p class="drama">
RICHARD.<br/>
(<i>jumping up</i>). Get out. Get out, you blithering baboon, you. (<i>Christy
flies, panicstricken.</i>)</p>
<p class="drama">
SWINDON.<br/>
(<i>rising—all rise</i>). Since you have taken the minister’s
place, Richard Dudgeon, you shall go through with it. The execution will take
place at 12 o’clock as arranged; and unless Anderson surrenders before
then you shall take his place on the gallows. Sergeant: take your man out.</p>
<p class="drama">
JUDITH.<br/>
(<i>distracted</i>). No, no—</p>
<p class="drama">
SWINDON.<br/>
(<i>fiercely, dreading a renewal of her entreaties</i>). Take that woman away.</p>
<p class="drama">
RICHARD.<br/>
(<i>springing across the table with a tiger-like bound, and seizing Swindon by
the throat</i>). You infernal scoundrel.</p>
<p class="stage">
The sergeant rushes to the rescue from one side, the soldiers from the other.
They seize Richard and drag him back to his place. Swindon, who has been thrown
supine on the table, rises, arranging his stock. He is about to speak, when he
is anticipated by Burgoyne, who has just appeared at the door with two papers
in his hand: a white letter and a blue dispatch.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>advancing to the table, elaborately cool</i>). What is this? What’s
happening? Mr. Anderson: I’m astonished at you.</p>
<p class="drama">
RICHARD.<br/>
I am sorry I disturbed you, General. I merely wanted to strangle your
understrapper there. (<i>Breaking out violently at Swindon</i>) Why do you
raise the devil in me by bullying the woman like that? You oatmeal faced dog,
I’d twist your cursed head off with the greatest satisfaction. (<i>He
puts out his hands to the sergeant</i>) Here: handcuff me, will you; or
I’ll not undertake to keep my fingers off him.</p>
<p class="stage">
The sergeant takes out a pair of handcuffs and looks to Burgoyne for
instructions.</p>
<p class="drama">
BURGOYNE.<br/>
Have you addressed profane language to the lady, Major Swindon?</p>
<p class="drama">
SWINDON.<br/>
(<i>very angry</i>). No, sir, certainly not. That question should not have been
put to me. I ordered the woman to be removed, as she was disorderly; and the
fellow sprang at me. Put away those handcuffs. I am perfectly able to take care
of myself.</p>
<p class="drama">
RICHARD.<br/>
Now you talk like a man, I have no quarrel with you.</p>
<p class="drama">
BURGOYNE.<br/>
Mr. Anderson—</p>
<p class="drama">
SWINDON.<br/>
His name is Dudgeon, sir, Richard Dudgeon. He is an impostor.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>brusquely</i>). Nonsense, sir; you hanged Dudgeon at Springtown.</p>
<p class="drama">
RICHARD.<br/>
It was my uncle, General.</p>
<p class="drama">
BURGOYNE.<br/>
Oh, your uncle. (<i>To Swindon, handsomely</i>) I beg your pardon, Major
Swindon. (<i>Swindon acknowledges the apology stiffly. Burgoyne turns to
Richard</i>) We are somewhat unfortunate in our relations with your family.
Well, Mr. Dudgeon, what I wanted to ask you is this: Who is (<i>reading the
name from the letter</i>) William Maindeck Parshotter?</p>
<p class="drama">
RICHARD.<br/>
He is the Mayor of Springtown.</p>
<p class="drama">
BURGOYNE.<br/>
Is William—Maindeck and so on—a man of his word?</p>
<p class="drama">
RICHARD.<br/>
Is he selling you anything?</p>
<p class="drama">
BURGOYNE.<br/>
No.</p>
<p class="drama">
RICHARD.<br/>
Then you may depend on him.</p>
<p class="drama">
BURGOYNE.<br/>
Thank you, Mr.—’m Dudgeon. By the way, since you are not Mr.
Anderson, do we still—eh, Major Swindon? (<i>meaning “do we still
hang him?”</i>)</p>
<p class="drama">
RICHARD.<br/>
The arrangements are unaltered, General.</p>
<p class="drama">
BURGOYNE.<br/>
Ah, indeed. I am sorry. Good morning, Mr. Dudgeon. Good morning, madam.</p>
<p class="drama">
RICHARD.<br/>
(<i>interrupting Judith almost fiercely as she is about to make some wild
appeal, and taking her arm resolutely</i>). Not one word more. Come.</p>
<p class="stage">
She looks imploringly at him, but is overborne by his determination. They are
marched out by the four soldiers: the sergeant, very sulky, walking between
Swindon and Richard, whom he watches as if he were a dangerous animal.</p>
<p class="drama">
BURGOYNE.<br/>
Gentlemen: we need not detain you. Major Swindon: a word with you. (<i>The
officers go out. Burgoyne waits with unruffled serenity until the last of them
disappears. Then he becomes very grave, and addresses Swindon for the first
time without his title.</i>) Swindon: do you know what this is (<i>showing him
the letter</i>)?</p>
<p class="drama">
SWINDON.<br/>
What?</p>
<p class="drama">
BURGOYNE.<br/>
A demand for a safe-conduct for an officer of their militia to come here and
arrange terms with us.</p>
<p class="drama">
SWINDON.<br/>
Oh, they are giving in.</p>
<p class="drama">
BURGOYNE.<br/>
They add that they are sending the man who raised Springtown last night and
drove us out; so that we may know that we are dealing with an officer of
importance.</p>
<p class="drama">
SWINDON.<br/>
Pooh!</p>
<p class="drama">
BURGOYNE.<br/>
He will be fully empowered to arrange the terms of—guess what.</p>
<p class="drama">
SWINDON.<br/>
Their surrender, I hope.</p>
<p class="drama">
BURGOYNE.<br/>
No: our evacuation of the town. They offer us just six hours to clear out.</p>
<p class="drama">
SWINDON.<br/>
What monstrous impudence!</p>
<p class="drama">
BURGOYNE.<br/>
What shall we do, eh?</p>
<p class="drama">
SWINDON.<br/>
March on Springtown and strike a decisive blow at once.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>quietly</i>). Hm! (<i>Turning to the door</i>) Come to the adjutant’s
office.</p>
<p class="drama">
SWINDON.<br/>
What for?</p>
<p class="drama">
BURGOYNE.<br/>
To write out that safe-conduct. (<i>He puts his hand to the door knob to open
it.</i>)</p>
<p class="drama">
SWINDON.<br/>
(<i>who has not budged</i>). General Burgoyne.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>returning</i>). Sir?</p>
<p class="drama">
SWINDON.<br/>
It is my duty to tell you, sir, that I do not consider the threats of a mob of
rebellious tradesmen a sufficient reason for our giving way.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>imperturbable</i>). Suppose I resign my command to you, what will you do?</p>
<p class="drama">
SWINDON.<br/>
I will undertake to do what we have marched south from Boston to do, and what
General Howe has marched north from New York to do: effect a junction at Albany
and wipe out the rebel army with our united forces.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>enigmatically</i>). And will you wipe out our enemies in London, too?</p>
<p class="drama">
SWINDON.<br/>
In London! What enemies?</p>
<p class="drama">
BURGOYNE.<br/>
(<i>forcibly</i>). Jobbery and snobbery, incompetence and Red Tape. (<i>He
holds up the dispatch and adds, with despair in his face and voice</i>) I have
just learnt, sir, that General Howe is still in New York.</p>
<p class="drama">
SWINDON.<br/>
(<i>thunderstruck</i>). Good God! He has disobeyed orders!</p>
<p class="drama">
BURGOYNE.<br/>
(<i>with sardonic calm</i>). He has received no orders, sir. Some gentleman in
London forgot to dispatch them: he was leaving town for his holiday, I believe.
To avoid upsetting his arrangements, England will lose her American colonies;
and in a few days you and I will be at Saratoga with 5,000 men to face 16,000
rebels in an impregnable position.</p>
<p class="drama">
SWINDON.<br/>
(<i>appalled</i>). Impossible!</p>
<p class="drama">
BURGOYNE.<br/>
(<i>coldly</i>). I beg your pardon!</p>
<p class="drama">
SWINDON.<br/>
I can’t believe it! What will History say?</p>
<p class="drama">
BURGOYNE.<br/>
History, sir, will tell lies, as usual. Come: we must send the safe-conduct.
(<i>He goes out.</i>)</p>
<p class="drama">
SWINDON.<br/>
(<i>following distractedly</i>). My God, my God! We shall be wiped out.</p>
<p>As noon approaches there is excitement in the market place. The gallows which
hangs there permanently for the terror of evildoers, with such minor
advertizers and examples of crime as the pillory, the whipping post, and the
stocks, has a new rope attached, with the noose hitched up to one of the
uprights, out of reach of the boys. Its ladder, too, has been brought out and
placed in position by the town beadle, who stands by to guard it from
unauthorized climbing. The Websterbridge townsfolk are present in force, and in
high spirits; for the news has spread that it is the devil’s disciple and
not the minister that the Continentals (<i>so they call Burgoyne’s
forces</i>) are about to hang: consequently the execution can be enjoyed
without any misgiving as to its righteousness, or to the cowardice of allowing
it to take place without a struggle. There is even some fear of a
disappointment as midday approaches and the arrival of the beadle with the
ladder remains the only sign of preparation. But at last reassuring shouts of
Here they come: Here they are, are heard; and a company of soldiers with fixed
bayonets, half British infantry, half Hessians, tramp quickly into the middle
of the market place, driving the crowd to the sides.</p>
<p class="drama">
THE SERGEANT.<br/>
Halt. Front. Dress. (<i>The soldiers change their column into a square
enclosing the gallows, their petty officers, energetically led by the sergeant,
hustling the persons who find themselves inside the square out at the
corners.</i>) Now then! Out of it with you: out of it. Some o’
you’ll get strung up yourselves presently. Form that square there, will
you, you damned Hoosians. No use talkin’ German to them: talk to their
toes with the butt ends of your muskets: they’ll understand that. GET out
of it, will you? (<i>He comes upon Judith, standing near the gallows.</i>) Now
then: YOU’VE no call here.</p>
<p class="drama">
JUDITH.<br/>
May I not stay? What harm am I doing?</p>
<p class="drama">
THE SERGEANT.<br/>
I want none of your argufying. You ought to be ashamed of yourself, running to
see a man hanged that’s not your husband. And he’s no better than
yourself. I told my major he was a gentleman; and then he goes and tries to
strangle him, and calls his blessed Majesty a lunatic. So out of it with you,
double quick.</p>
<p class="drama">
JUDITH.<br/>
Will you take these two silver dollars and let me stay?</p>
<p class="stage">
The sergeant, without an instant’s hesitation, looks quickly and
furtively round as he shoots the money dexterously into his pocket. Then he
raises his voice in virtuous indignation.</p>
<p class="drama">
THE SERGEANT.<br/>
ME take money in the execution of my duty! Certainly not. Now I’ll tell
you what I’ll do, to teach you to corrupt the King’s officer.
I’ll put you under arrest until the execution’s over. You just
stand there; and don’t let me see you as much as move from that spot
until you’re let. (<i>With a swift wink at her he points to the corner of
the square behind the gallows on his right, and turns noisily away,
shouting</i>) Now then dress up and keep ’em back, will you?</p>
<p class="stage">
Cries of Hush and Silence are heard among the townsfolk; and the sound of a
military band, playing the Dead March from Saul, is heard. The crowd becomes
quiet at once; and the sergeant and petty officers, hurrying to the back of the
square, with a few whispered orders and some stealthy hustling cause it to open
and admit the funeral procession, which is protected from the crowd by a double
file of soldiers. First come Burgoyne and Swindon, who, on entering the square,
glance with distaste at the gallows, and avoid passing under it by wheeling a
little to the right and stationing themselves on that side. Then Mr. Brudenell,
the chaplain, in his surplice, with his prayer book open in his hand, walking
beside Richard, who is moody and disorderly. He walks doggedly through the
gallows framework, and posts himself a little in front of it. Behind him comes
the executioner, a stalwart soldier in his shirtsleeves. Following him, two
soldiers haul a light military waggon. Finally comes the band, which posts
itself at the back of the square, and finishes the Dead March. Judith, watching
Richard painfully, steals down to the gallows, and stands leaning against its
right post. During the conversation which follows, the two soldiers place the
cart under the gallows, and stand by the shafts, which point backwards. The
executioner takes a set of steps from the cart and places it ready for the
prisoner to mount. Then he climbs the tall ladder which stands against the
gallows, and cuts the string by which the rope is hitched up; so that the noose
drops dangling over the cart, into which he steps as he descends.</p>
<p class="drama">
RICHARD.<br/>
(<i>with suppressed impatience, to Brudenell</i>). Look here, sir: this is no
place for a man of your profession. Hadn’t you better go away?</p>
<p class="drama">
SWINDON.<br/>
I appeal to you, prisoner, if you have any sense of decency left, to listen to
the ministrations of the chaplain, and pay due heed to the solemnity of the
occasion.</p>
<p class="drama">
THE CHAPLAIN (<i>gently reproving Richard</i>). Try to control yourself, and
submit to the divine will. (<i>He lifts his book to proceed with the
service.</i>)</p>
<p class="drama">
RICHARD.<br/>
Answer for your own will, sir, and those of your accomplices here
(<i>indicating Burgoyne and Swindon</i>): I see little divinity about them or
you. You talk to me of Christianity when you are in the act of hanging your
enemies. Was there ever such blasphemous nonsense! (<i>To Swindon, more
rudely</i>) You’ve got up the solemnity of the occasion, as you call it,
to impress the people with your own dignity—Handel’s music and a
clergyman to make murder look like piety! Do you suppose I am going to help
you? You’ve asked me to choose the rope because you don’t know your
own trade well enough to shoot me properly. Well, hang away and have done with
it.</p>
<p class="drama">
SWINDON.<br/>
(<i>to the chaplain</i>). Can you do nothing with him, Mr. Brudenell?</p>
<p class="drama">
CHAPLAIN.<br/>
I will try, sir. (<i>Beginning to read</i>) Man that is born of woman
hath—</p>
<p class="drama">
RICHARD.<br/>
(<i>fixing his eyes on him</i>). “Thou shalt not kill.”</p>
<p class="stage">
The book drops in Brudenell’s hands.</p>
<p class="drama">
CHAPLAIN.<br/>
(<i>confessing his embarrassment</i>). What am I to say, Mr. Dudgeon?</p>
<p class="drama">
RICHARD.<br/>
Let me alone, man, can’t you?</p>
<p class="drama">
BURGOYNE.<br/>
(<i>with extreme urbanity</i>). I think, Mr. Brudenell, that as the usual
professional observations seem to strike Mr. Dudgeon as incongruous under the
circumstances, you had better omit them until—er—until Mr. Dudgeon
can no longer be inconvenienced by them. (<i>Brudenell, with a shrug, shuts his
book and retires behind the gallows.</i>) YOU seem in a hurry, Mr. Dudgeon.</p>
<p class="drama">
RICHARD.<br/>
(<i>with the horror of death upon him</i>). Do you think this is a pleasant
sort of thing to be kept waiting for? You’ve made up your mind to commit
murder: well, do it and have done with it.</p>
<p class="drama">
BURGOYNE.<br/>
Mr. Dudgeon: we are only doing this—</p>
<p class="drama">
RICHARD.<br/>
Because you’re paid to do it.</p>
<p class="drama">
SWINDON.<br/>
You insolent— (<i>He swallows his rage.</i>)</p>
<p class="drama">
BURGOYNE.<br/>
(<i>with much charm of manner</i>). Ah, I am really sorry that you should think
that, Mr. Dudgeon. If you knew what my commission cost me, and what my pay is,
you would think better of me. I should be glad to part from you on friendly
terms.</p>
<p class="drama">
RICHARD.<br/>
Hark ye, General Burgoyne. If you think that I like being hanged, you’re
mistaken. I don’t like it; and I don’t mean to pretend that I do.
And if you think I’m obliged to you for hanging me in a gentlemanly way,
you’re wrong there too. I take the whole business in devilish bad part;
and the only satisfaction I have in it is that you’ll feel a good deal
meaner than I’ll look when it’s over. (<i>He turns away, and is
striding to the cart when Judith advances and interposes with her arms
stretched out to him. Richard, feeling that a very little will upset his
self-possession, shrinks from her, crying</i>) What are you doing here? This is
no place for you. (<i>She makes a gesture as if to touch him. He recoils
impatiently.</i>) No: go away, go away; you’ll unnerve me. Take her away,
will you?</p>
<p class="drama">
JUDITH.<br/>
Won’t you bid me good-bye?</p>
<p class="drama">
RICHARD.<br/>
(<i>allowing her to take his hand</i>). Oh good-bye, good-bye. Now
go—go—quickly. (<i>She clings to his hand—will not be put off
with so cold a last farewell—at last, as he tries to disengage himself,
throws herself on his breast in agony.</i>)</p>
<p class="drama">
SWINDON.<br/>
(<i>angrily to the sergeant, who, alarmed at Judith’s movement, has come
from the back of the square to pull her back, and stopped irresolutely on
finding that he is too late</i>). How is this? Why is she inside the lines?</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>guiltily</i>). I dunno, sir. She’s that artful can’t keep her
away.</p>
<p class="drama">
BURGOYNE.<br/>
You were bribed.</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>protesting</i>). No, Sir—</p>
<p class="drama">
SWINDON.<br/>
(<i>severely</i>). Fall back. (<i>He obeys.</i>)</p>
<p class="drama">
RICHARD.<br/>
(<i>imploringly to those around him, and finally to Burgoyne, as the least
stolid of them</i>). Take her away. Do you think I want a woman near me now?</p>
<p class="drama">
BURGOYNE.<br/>
(<i>going to Judith and taking her hand</i>). Here, madam: you had better keep
inside the lines; but stand here behind us; and don’t look.</p>
<p class="stage">
Richard, with a great sobbing sigh of relief as she releases him and turns to
Burgoyne, flies for refuge to the cart and mounts into it. The executioner
takes off his coat and pinions him.</p>
<p class="drama">
JUDITH.<br/>
(<i>resisting Burgoyne quietly and drawing her hand away</i>). No: I must stay.
I won’t look. (<i>She goes to the right of the gallows. She tries to look
at Richard, but turns away with a frightful shudder, and falls on her knees in
prayer. Brudenell comes towards her from the back of the square.</i>)</p>
<p class="drama">
BURGOYNE.<br/>
(<i>nodding approvingly as she kneels</i>). Ah, quite so. Do not disturb her,
Mr. Brudenell: that will do very nicely. (<i>Brudenell nods also, and withdraws
a little, watching her sympathetically. Burgoyne resumes his former position,
and takes out a handsome gold chronometer.</i>) Now then, are those
preparations made? We must not detain Mr. Dudgeon.</p>
<p class="stage">
By this time Richard’s hands are bound behind him; and the noose is round
his neck. The two soldiers take the shaft of the wagon, ready to pull it away.
The executioner, standing in the cart behind Richard, makes a sign to the
sergeant.</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>to Burgoyne</i>). Ready, sir.</p>
<p class="drama">
BURGOYNE.<br/>
Have you anything more to say, Mr. Dudgeon? It wants two minutes of twelve
still.</p>
<p class="drama">
RICHARD.<br/>
(<i>in the strong voice of a man who has conquered the bitterness of
death</i>). Your watch is two minutes slow by the town clock, which I can see
from here, General. (<i>The town clock strikes the first stroke of twelve.
Involuntarily the people flinch at the sound, and a subdued groan breaks from
them.</i>) Amen! my life for the world’s future!</p>
<p class="drama">
ANDERSON.<br/>
(<i>shouting as he rushes into the market place</i>). Amen; and stop the
execution. (<i>He bursts through the line of soldiers opposite Burgoyne, and
rushes, panting, to the gallows.</i>) I am Anthony Anderson, the man you want.</p>
<p class="stage">
The crowd, intensely excited, listens with all its ears. Judith, half rising,
stares at him; then lifts her hands like one whose dearest prayer has been
granted.</p>
<p class="drama">
SWINDON.<br/>
Indeed. Then you are just in time to take your place on the gallows. Arrest
him.</p>
<p class="stage">
At a sign from the sergeant, two soldiers come forward to seize Anderson.</p>
<p class="drama">
ANDERSON.<br/>
(<i>thrusting a paper under Swindon’s nose</i>). There’s my
safe-conduct, sir.</p>
<p class="drama">
SWINDON.<br/>
(<i>taken aback</i>). Safe-conduct! Are you—!</p>
<p class="drama">
ANDERSON.<br/>
(<i>emphatically</i>). I am. (<i>The two soldiers take him by the elbows.</i>)
Tell these men to take their hands off me.</p>
<p class="drama">
SWINDON.<br/>
(<i>to the men</i>). Let him go.</p>
<p class="drama">
THE SERGEANT.<br/>
Fall back.</p>
<p class="stage">
The two men return to their places. The townsfolk raise a cheer; and begin to
exchange exultant looks, with a presentiment of triumph as they see their
Pastor speaking with their enemies in the gate.</p>
<p class="drama">
ANDERSON.<br/>
(<i>exhaling a deep breath of relief, and dabbing his perspiring brow with his
handkerchief</i>). Thank God, I was in time!</p>
<p class="drama">
BURGOYNE.<br/>
(<i>calm as ever, and still watch in hand</i>). Ample time, sir. Plenty of
time. I should never dream of hanging any gentleman by an American clock.
(<i>He puts up his watch.</i>)</p>
<p class="drama">
ANDERSON.<br/>
Yes: we are some minutes ahead of you already, General. Now tell them to take
the rope from the neck of that American citizen.</p>
<p class="drama">
BURGOYNE.<br/>
(<i>to the executioner in the cart—very politely</i>). Kindly undo Mr.
Dudgeon.</p>
<p class="stage">
The executioner takes the rope from Richard’s neck, unties his hands, and
helps him on with his coat.</p>
<p class="drama">
JUDITH.<br/>
(<i>stealing timidly to Anderson</i>). Tony.</p>
<p class="drama">
ANDERSON.<br/>
(<i>putting his arm round her shoulders and bantering her affectionately</i>).
Well what do you think of your husband, NOW, eh?—eh??—eh???</p>
<p class="drama">
JUDITH.<br/>
I am ashamed— (<i>She hides her face against his breast.</i>)</p>
<p class="drama">
BURGOYNE.<br/>
(<i>to Swindon</i>). You look disappointed, Major Swindon.</p>
<p class="drama">
SWINDON.<br/>
You look defeated, General Burgoyne.</p>
<p class="drama">
BURGOYNE.<br/>
I am, sir; and I am humane enough to be glad of it. (<i>Richard jumps down from
the cart, Brudenell offering his hand to help him, and runs to Anderson, whose
left hand he shakes heartily, the right being occupied by Judith.</i>) By the
way, Mr. Anderson, I do not quite understand. The safe-conduct was for a
commander of the militia. I understand you are a— (<i>he looks as
pointedly as his good manners permit at the riding boots, the pistols, and
Richard’s coat, and adds</i>) a clergyman.</p>
<p class="drama">
ANDERSON.<br/>
(<i>between Judith and Richard</i>). Sir: it is in the hour of trial that a man
finds his true profession. This foolish young man (<i>placing his hand on
Richard’s shoulder</i>) boasted himself the Devil’s Disciple; but
when the hour of trial came to him, he found that it was his destiny to suffer
and be faithful to the death. I thought myself a decent minister of the gospel
of peace; but when the hour of trial came to me, I found that it was my destiny
to be a man of action and that my place was amid the thunder of the captains
and the shouting. So I am starting life at fifty as Captain Anthony Anderson of
the Springtown militia; and the Devil’s Disciple here will start
presently as the Reverend Richard Dudgeon, and wag his pow in my old pulpit,
and give good advice to this silly sentimental little wife of mine (<i>putting
his other hand on her shoulder. She steals a glance at Richard to see how the
prospect pleases him</i>). Your mother told me, Richard, that I should never
have chosen Judith if I’d been born for the ministry. I am afraid she was
right; so, by your leave, you may keep my coat and I’ll keep yours.</p>
<p class="drama">
RICHARD.<br/>
Minister—I should say Captain. I have behaved like a fool.</p>
<p class="drama">
JUDITH.<br/>
Like a hero.</p>
<p class="drama">
RICHARD.<br/>
Much the same thing, perhaps. (<i>With some bitterness towards himself</i>) But
no: if I had been any good, I should have done for you what you did for me,
instead of making a vain sacrifice.</p>
<p class="drama">
ANDERSON.<br/>
Not vain, my boy. It takes all sorts to make a world—saints as well as
soldiers. (<i>Turning to Burgoyne</i>) And now, General, time presses; and
America is in a hurry. Have you realized that though you may occupy towns and
win battles, you cannot conquer a nation?</p>
<p class="drama">
BURGOYNE.<br/>
My good sir, without a Conquest you cannot have an aristocracy. Come and settle
the matter at my quarters.</p>
<p class="drama">
ANDERSON.<br/>
At your service, sir. (<i>To Richard</i>) See Judith home for me, will you, my
boy? (<i>He hands her over to him.</i>) Now General. (<i>He goes busily up the
market place towards the Town Hall, Leaving Judith and Richard together.
Burgoyne follows him a step or two; then checks himself and turns to
Richard.</i>)</p>
<p class="drama">
BURGOYNE.<br/>
Oh, by the way, Mr. Dudgeon, I shall be glad to see you at lunch at half-past
one. (<i>He pauses a moment, and adds, with politely veiled slyness</i>) Bring
Mrs. Anderson, if she will be so good. (<i>To Swindon, who is fuming</i>) Take
it quietly, Major Swindon: your friend the British soldier can stand up to
anything except the British War Office. (<i>He follows Anderson.</i>)</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>to Swindon</i>). What orders, sir?</p>
<p class="drama">
SWINDON.<br/>
(<i>savagely</i>). Orders! What use are orders now? There’s no army. Back
to quarters; and be d— (<i>He turns on his heel and goes.</i>)</p>
<p class="drama">
THE SERGEANT.<br/>
(<i>pugnacious and patriotic, repudiating the idea of defeat</i>).
’Tention. Now then: cock up your chins, and show ’em you
don’t care a damn for ’em. Slope arms! Fours! Wheel! Quick march!</p>
<p class="stage">
The drum marks time with a tremendous bang; the band strikes up British
Grenadiers; and the sergeant, Brudenell, and the English troops march off
defiantly to their quarters. The townsfolk press in behind, and follow them up
the market, jeering at them; and the town band, a very primitive affair, brings
up the rear, playing Yankee Doodle. Essie, who comes in with them, runs to
Richard.</p>
<p class="drama">
ESSIE.<br/>
Oh, Dick!</p>
<p class="drama">
RICHARD.<br/>
(<i>good-humoredly, but wilfully</i>). Now, now: come, come! I don’t mind
being hanged; but I will not be cried over.</p>
<p class="drama">
ESSIE.<br/>
No, I promise. I’ll be good. (<i>She tries to restrain her tears, but
cannot.</i>) I—I want to see where the soldiers are going to. (<i>She
goes a little way up the market, pretending to look after the crowd.</i>)</p>
<p class="drama">
JUDITH.<br/>
Promise me you will never tell him.</p>
<p class="drama">
RICHARD.<br/>
Don’t be afraid.</p>
<p class="stage">
They shake hands on it.</p>
<p class="drama">
ESSIE.<br/>
(<i>calling to them</i>). They’re coming back. They want you.</p>
<p class="stage">
Jubilation in the market. The townsfolk surge back again in wild enthusiasm
with their band, and hoist Richard on their shoulders, cheering him.</p>
<h4>CURTAIN.</h4>
<h2>NOTES TO THE DEVIL’S DISCIPLE</h2>
<h4>BURGOYNE</h4>
<p>General John Burgoyne, who is presented in this play for the first time (<i>as
far as I am aware</i>) on the English stage, is not a conventional stage
soldier, but as faithful a portrait as it is in the nature of stage portraits
to be. His objection to profane swearing is not borrowed from Mr.
Gilbert’s H. M. S. Pinafore: it is taken from the Code of Instructions
drawn up by himself for his officers when he introduced Light Horse into the
English army. His opinion that English soldiers should be treated as thinking
beings was no doubt as unwelcome to the military authorities of his time, when
nothing was thought of ordering a soldier a thousand lashes, as it will be to
those modern victims of the flagellation neurosis who are so anxious to revive
that discredited sport. His military reports are very clever as criticisms, and
are humane and enlightened within certain aristocratic limits, best illustrated
perhaps by his declaration, which now sounds so curious, that he should blush
to ask for promotion on any other ground than that of family influence. As a
parliamentary candidate, Burgoyne took our common expression “fighting an
election” so very literally that he led his supporters to the poll at
Preston in 1768 with a loaded pistol in each hand, and won the seat, though he
was fined 1,000 pounds, and denounced by Junius, for the pistols.</p>
<p>It is only within quite recent years that any general recognition has become
possible for the feeling that led Burgoyne, a professed enemy of oppression in
India and elsewhere, to accept his American command when so many other officers
threw up their commissions rather than serve in a civil war against the
Colonies. His biographer De Fonblanque, writing in 1876, evidently regarded his
position as indefensible. Nowadays, it is sufficient to say that Burgoyne was
an Imperialist. He sympathized with the colonists; but when they proposed as a
remedy the disruption of the Empire, he regarded that as a step backward in
civilization. As he put it to the House of Commons, “while we remember
that we are contending against brothers and fellow subjects, we must also
remember that we are contending in this crisis for the fate of the British
Empire.” Eighty-four years after his defeat, his republican conquerors
themselves engaged in a civil war for the integrity of their Union. In 1885 the
Whigs who represented the anti-Burgoyne tradition of American Independence in
English politics, abandoned Gladstone and made common cause with their
political opponents in defence of the Union between England and Ireland. Only
the other day England sent 200,000 men into the field south of the equator to
fight out the question whether South Africa should develop as a Federation of
British Colonies or as an independent Afrikander United States. In all these
cases the Unionists who were detached from their parties were called renegades,
as Burgoyne was. That, of course, is only one of the unfortunate consequences
of the fact that mankind, being for the most part incapable of politics,
accepts vituperation as an easy and congenial substitute. Whether Burgoyne or
Washington, Lincoln or Davis, Gladstone or Bright, Mr. Chamberlain or Mr.
Leonard Courtney was in the right will never be settled, because it will never
be possible to prove that the government of the victor has been better for
mankind than the government of the vanquished would have been. It is true that
the victors have no doubt on the point; but to the dramatist, that certainty of
theirs is only part of the human comedy. The American Unionist is often a
Separatist as to Ireland; the English Unionist often sympathizes with the
Polish Home Ruler; and both English and American Unionists are apt to be
Disruptionists as regards that Imperial Ancient of Days, the Empire of China.
Both are Unionists concerning Canada, but with a difference as to the precise
application to it of the Monroe doctrine. As for me, the dramatist, I smile,
and lead the conversation back to Burgoyne.</p>
<p>Burgoyne’s surrender at Saratoga made him that occasionally necessary
part of our British system, a scapegoat. The explanation of his defeat given in
the play is founded on a passage quoted by De Fonblanque from
Fitzmaurice’s Life of Lord Shelburne, as follows: “Lord George
Germain, having among other peculiarities a particular dislike to be put out of
his way on any occasion, had arranged to call at his office on his way to the
country to sign the dispatches; but as those addressed to Howe had not been
faircopied, and he was not disposed to be balked of his projected visit to
Kent, they were not signed then and were forgotten on his return home.”
These were the dispatches instructing Sir William Howe, who was in New York, to
effect a junction at Albany with Burgoyne, who had marched from Boston for that
purpose. Burgoyne got as far as Saratoga, where, failing the expected
reinforcement, he was hopelessly outnumbered, and his officers picked off, Boer
fashion, by the American farmer-sharpshooters. His own collar was pierced by a
bullet. The publicity of his defeat, however, was more than compensated at home
by the fact that Lord George’s trip to Kent had not been interfered with,
and that nobody knew about the oversight of the dispatch. The policy of the
English Government and Court for the next two years was simply concealment of
Germain’s neglect. Burgoyne’s demand for an inquiry was defeated in
the House of Commons by the court party; and when he at last obtained a
committee, the king got rid of it by a prorogation. When Burgoyne realized what
had happened about the instructions to Howe (<i>the scene in which I have
represented him as learning it before Saratoga is not historical: the truth did
not dawn on him until many months afterwards</i>) the king actually took
advantage of his being a prisoner of war in England on parole, and ordered him
to return to America into captivity. Burgoyne immediately resigned all his
appointments; and this practically closed his military career, though he was
afterwards made Commander of the Forces in Ireland for the purpose of banishing
him from parliament.</p>
<p>The episode illustrates the curious perversion of the English sense of honor
when the privileges and prestige of the aristocracy are at stake. Mr. Frank
Harris said, after the disastrous battle of Modder River, that the English,
having lost America a century ago because they preferred George III, were quite
prepared to lose South Africa to-day because they preferred aristocratic
commanders to successful ones. Horace Walpole, when the parliamentary recess
came at a critical period of the War of Independence, said that the Lords could
not be expected to lose their pheasant shooting for the sake of America. In the
working class, which, like all classes, has its own official aristocracy, there
is the same reluctance to discredit an institution or to “do a man out of
his job.” At bottom, of course, this apparently shameless sacrifice of
great public interests to petty personal ones, is simply the preference of the
ordinary man for the things he can feel and understand to the things that are
beyond his capacity. It is stupidity, not dishonesty.</p>
<p>Burgoyne fell a victim to this stupidity in two ways. Not only was he thrown
over, in spite of his high character and distinguished services, to screen a
court favorite who had actually been cashiered for cowardice and misconduct in
the field fifteen years before; but his peculiar critical temperament and
talent, artistic, satirical, rather histrionic, and his fastidious delicacy of
sentiment, his fine spirit and humanity, were just the qualities to make him
disliked by stupid people because of their dread of ironic criticism. Long
after his death, Thackeray, who had an intense sense of human character, but
was typically stupid in valuing and interpreting it, instinctively sneered at
him and exulted in his defeat. That sneer represents the common English
attitude towards the Burgoyne type. Every instance in which the critical genius
is defeated, and the stupid genius (<i>for both temperaments have their
genius</i>) “muddles through all right,” is popular in England. But
Burgoyne’s failure was not the work of his own temperament, but of the
stupid temperament. What man could do under the circumstances he did, and did
handsomely and loftily. He fell, and his ideal empire was dismembered, not
through his own misconduct, but because Sir George Germain overestimated the
importance of his Kentish holiday, and underestimated the difficulty of
conquering those remote and inferior creatures, the colonists. And King George
and the rest of the nation agreed, on the whole, with Germain. It is a
significant point that in America, where Burgoyne was an enemy and an invader,
he was admired and praised. The climate there is no doubt more favorable to
intellectual vivacity.</p>
<p>I have described Burgoyne’s temperament as rather histrionic; and the
reader will have observed that the Burgoyne of the Devil’s Disciple is a
man who plays his part in life, and makes all its points, in the manner of a
born high comedian. If he had been killed at Saratoga, with all his comedies
unwritten, and his plan for turning As You Like It into a Beggar’s Opera
unconceived, I should still have painted the same picture of him on the
strength of his reply to the articles of capitulation proposed to him by his
American conqueror General Gates. Here they are:</p>
<p class="center">
PROPOSITION</p>
<p>1. General Burgoyne’s army being reduced by repeated defeats, by
desertion, sickness, etc., their provisions exhausted, their military horses,
tents and baggage taken or destroyed, their retreat cut off, and their camp
invested, they can only be allowed to surrender as prisoners of war.</p>
<p class="center">
ANSWER</p>
<p>1. Lieut.-General Burgoyne’s army, however reduced, will never admit that
their retreat is cut off while they have arms in their hands.</p>
<p class="center">
PROPOSITION</p>
<p>2. The officers and soldiers may keep the baggage belonging to them. The
generals of the United States never permit individuals to be pillaged.</p>
<p class="center">
ANSWER</p>
<p>2. Noted.</p>
<p class="center">
PROPOSITION</p>
<p>3. The troops under his Excellency General Burgoyne will be conducted by the
most convenient route to New England, marching by easy marches, and
sufficiently provided for by the way.</p>
<p class="center">
ANSWER</p>
<p>3. Agreed.</p>
<p class="center">
PROPOSITION</p>
<p>4. The officers will be admitted on parole and will be treated with the
liberality customary in such cases, so long as they, by proper behaviour,
continue to deserve it; but those who are apprehended having broke their
parole, as some British officers have done, must expect to be close confined.</p>
<p class="center">
ANSWER</p>
<p>4. There being no officer in this army, under, or capable of being under, the
description of breaking parole, this article needs no answer.</p>
<p class="center">
PROPOSITION</p>
<p>5. All public stores, artillery, arms, ammunition, carriages, horses, etc.,
etc., must be delivered to commissaries appointed to receive them.</p>
<p class="center">
ANSWER</p>
<p>5. All public stores may be delivered, arms excepted.</p>
<p class="center">
PROPOSITION</p>
<p>6. These terms being agreed to and signed, the troops under his
Excellency’s, General Burgoyne’s command, may be drawn up in their
encampments, where they will be ordered to ground their arms, and may thereupon
be marched to the river-side on their way to Bennington.</p>
<p class="center">
ANSWER</p>
<p>6. This article is inadmissible in any extremity. Sooner than this army will
consent to ground their arms in their encampments, they will rush on the enemy
determined to take no quarter.</p>
<p class="p2">
And, later on, “If General Gates does not mean to recede from the 6th
article, the treaty ends at once: the army will to a man proceed to any act of
desperation sooner than submit to that article.”</p>
<p>Here you have the man at his Burgoynest. Need I add that he had his own way;
and that when the actual ceremony of surrender came, he would have played poor
General Gates off the stage, had not that commander risen to the occasion by
handing him back his sword.</p>
<p>In connection with the reference to Indians with scalping knives, who, with the
troops hired from Germany, made up about half Burgoyne’s force, I may
mention that Burgoyne offered two of them a reward to guide a Miss McCrea,
betrothed to one of the English officers, into the English lines.</p>
<p>The two braves quarrelled about the reward; and the more sensitive of them, as
a protest against the unfairness of the other, tomahawked the young lady. The
usual retaliations were proposed under the popular titles of justice and so
forth; but as the tribe of the slayer would certainly have followed suit by a
massacre of whites on the Canadian frontier, Burgoyne was compelled to forgive
the crime, to the intense disgust of indignant Christendom.</p>
<h4>BRUDENELL</h4>
<p>Brudenell is also a real person. At least an artillery chaplain of that name
distinguished himself at Saratoga by reading the burial service over Major
Fraser under fire, and by a quite readable adventure, chronicled by Burgoyne,
with Lady Harriet Ackland. Lady Harriet’s husband achieved the remarkable
feat of killing himself, instead of his adversary, in a duel. He overbalanced
himself in the heat of his swordsmanship, and fell with his head against a
pebble. Lady Harriet then married the warrior chaplain, who, like Anthony
Anderson in the play, seems to have mistaken his natural profession.</p>
<p>The rest of the Devil’s Disciple may have actually occurred, like most
stories invented by dramatists; but I cannot produce any documents. Major
Swindon’s name is invented; but the man, of course, is real. There are
dozens of him extant to this day.</p>
<div style="break-after:column;"></div><br />