To R. E. L.
The Azure Adder
By
Charles Demuth
NEW YORK
ALBERT AND CHARLES BONI
96 Fifth Avenue
1913
Copyright, 1913
By
The Glebe
Scene. Studio of Vivian. Simplicity run riot is the keynote: white against white; white walls and little furniture. The furniture is painted gray, Vivian’s gray—really white.
Time. The ultra-present.
(The curtain rises. For a minute or two the stage is empty. Then enter Vivian, through the door at the back of the stage, the only door in the scene. He wears the dress of the ancient Greeks and is evidently just coming from the bath, as shown by his damp hair. In one hand he carries a few narcissi, while with the other he tries to arrange the folds of drapery, which seem to hinder his movements. He arranges one or two flowers in a jar, before the “Nike de Samothrace,” whispering: “Yes, narcissi, truly like Grecian things.” He drops the rest of the flowers upon the floor, removes the robe and starts to comb his hair before a small mirror. This mirror is set in the back of a large framed photograph of the “Venus de Milo” that hangs near the door. Vivian turns the Venus photograph to the wall and we see the small piece of looking-glass. He finally rouges his lips as a finishing touch to his toilet. Putting on a coat but retaining the sandals, he moves towards the door; on the way he picks up a hat, which he puts on carefully. As he nears the door a knock is heard and the door is opened. Vivian takes on the look of being in the higher heights of thought. Two girls are discovered in the door-way. One, Yvonne, says: “Bon jour.” The second, Alice: “Hello.” Both enter. Vivian passes them in the door-way without speaking and softly closes the door.)