The Washington herald. [volume] (Washington, D.C.) 1906-1939, 1910-12-20

Is that the bOarder's room IN the fiat
must be kept for his use. When Paul OBJ
jects to this. Craig asks if 1t is because
his philosophy does not stand him in
stead. He asks:
why should you-the philosopher
hesitate for single moment at so sim
pie and unconventional a proposition.
After all. are you only common home
breaker and impostor? Have all your
far-reaehing theories and advanced ideas
been nothing but talk? Or have you
courage to live up to them?''
over year elapses. Paul and Kate are
married. Craig is domiciled with them.
Already the arrangement is driving Paul
crazy with jealousy. Dishonest and COW
ardly and a sensualist himself, he can
not conceive OF truth or honesty in
others, Almost the situation of the first
act is duplicated. Both men go out of
the fiat, leaving Kate alone While she
IS IN another room answering the phone,
Craig comes back, lights a fresh cigar,
| leaving the Old stump on the table, and
goes onto the balcony Kate has not
! learned that he is there when Paul comes
in. He finds the cigar butt and accuses
Kate OF hiding Craig somewhere. Once
more something OF the scene of the first
act IS gone over, only this time the posi-
I tons OF the men are reversed. In the
first act Craig had got a revolver from
drawer, but he despised using IT. In
this new situation Paul gets the same re
volver ana tries to use it. but it is una
| loaded. Il feared your philosophy would
not stand the test" says Craig, and SO
/ empted the revolver three days ago"
Then for the first time all the pent-up
Scorn and misery Of Craig come out All
along ne has known that Pauls theories
and philosophical rantings were the
merest twaddle; sops 10 his own con-
science; glittering half-truths TO per
suade a woman to her undoing Paul
would sneak out. but no; Craig detains
him, and thus voices what is the highest
moment of the play. its justification. its
greatest truth.
Yes; a moment-I am not quite through
with IN Don't be afraid. / am simply
going TO tell you what l think OF you.
shall not call you names: of all
know there are none base enough to fit
you. You and your kind represent the
most deadly disease of modern life. Not
having the moral health or strength 10
live by the laws of the community you
make your own and preach your gospel
OF deteSted self You tear down all that
stands Tor decency and truth. sheer at
the laws of God and man, scoff at the
teachings or the church, and all else that
blocks the way to your desire. and above
the havoc you create, you haunt the
banner Of your icenuous creed which
you falsely call advanced ideas, philos-
ophy-a mass OF lies mingled with the
truth, but tempting blind 10 those who
long 10 throw their moral obligations TO
the wind. (kate sinks in chair) And
she whom you have dragged down. who
gave you her love. her very soul, who
n g n
againsS you. because YOU can conceive
no faith, no truth; and so your crippled
mind and soul WORKS out your punish
ment kate covers face) You have
made your own hell on earth. and must
live out your own damnation.
The third and last act is two years
later, It's scene Is the railroad Office
where Craig is manager. Paul has been
promoted TO the ticket department. has
embezzled $1,000. and. fearing detection. is
on the eve OF escaping 10 Europe. But
Craig has had him watched; has all the
evidence. and is about to arrest Paul
when Kate comes in. She comes to beg
her former husband 10 save her present
husband for the sake OF her child. She
promises TO work and refund the money:
she was a good stenographer before her
marriage Craig says that he viii see
what Paul says about it Paul, knowing
that ne IS trapped, and knowing what
his wife will have to undergo. accedes to
the plan is allowed TO escape, and the
play ends with Craig debating business
letter TO his former wife
What is the moral OF the piay7 II lies
exactly as set forth In that speech of
Cralgs which is printed above II you
cannot find it there. or il. in the play
house you do not recognize it when il Is
spoken, then. perhaps, the play will have
no moral for you But il is there. just
the same
II would be a mistake TO give you the
impression that 'rhe Havoc" is all SOM
Der and tragic, though through it all the
somberness Of the bitter truth OF IL is
never far absent But there are some
fine comedy lines. brilliant dialogue, and
lighter situations that have a close ap-
peal.
And this Is play that. taken by and
large. shows the hand OF a man who
knows technique and senses dramatic
situation. There are faults here and
there. but they are trivial, as, for IN
stance, in the excuse given for Craig
leaving the revolver in the drawer in the
first act. 1t would surely seem reason
able that he had been away from home
on trips before. There are one OF two