Which they—the town—did, though even then the courthouse was not finished for another six years. Not but that they thought it was: complete: simple and square, floored and roofed and windowed, with a central hallway and the four offices—sheriff and tax assessor and circuit- and chancery clerk (which—the chancery clerk’s office—would contain the ballot boxes and booths for voting)—below, and the courtroom and jury room and the judge’s chambers above—even to the pigeons and English sparrows, migrants too but not pioneers, inevictably urban in fact, come all the way from the Atlantic coast as soon as the town became a town with a name, taking possession of the gutters and eave boxes almost before the final hammer was withdrawn, uxorious and interminable the one, garrulous and myriad the other. Then in the sixth year old Alec Holston died and bequeathed back to the town the fifteen dollars it had paid him for the lock; two years before, Louis Grenier had died and his heirs still held in trust on demand the fifteen hundred dollars his will had devised it, and now there was another newcomer in the county, a man named John Sartoris, with slaves and gear and money too like Grenier and Sutpen, but who was an even better stalemate to Sutpen than Grenier had been because it was apparent at once that he, Sartoris, was the sort of man who could even cope with Sutpen in the sense that a man with a sabre or even a small sword and heart enough for it could cope with one with an axe; and that summer (Sutpen’s Paris architect had long since gone back to whatever place he came from and to which he had made his one abortive midnight try to return, but his trickle, flow of bricks had never even faltered: his molds and kilns had finished the jail and were now raising the walls of two churches and by the half-century would have completed what would be known through all north Mississippi and east Tennessee as the Academy, the Female Institute) there was a committee: Compson and Sartoris and Peabody (and in absentia Sutpen: nor would the town ever know exactly how much of the additional cost Sutpen and Sartoris made up): and the next year the eight disjointed marble columns were landed from an Italian ship at New Orleans, into a steamboat up the Mississippi to Vicksburg, and into a smaller steamboat up the Yazoo and Sunflower and Tallahatchie, to Ikkemotubbe’s old landing which Sutpen now owned, and thence the twelve miles by oxen into Jefferson: the two identical four-column porticoes, one on the north and one on the south, each with its balcony of wrought iron New Orleans grillwork, on one of which—the south one—in 1861 Sartoris would stand in the first Confederate uniform the town had ever seen, while in the Square below the Richmond mustering officer enrolled and swore in the regiment which Sartoris as its colonel would take to Virginia as a part of Bee, to be Jackson’s extreme left in front of the Henry house at First Manassas, and from both of which each May and November for a hundred years, bailiffs in their orderly appointive almost hereditary succession would cry without inflection or punctuation either ‘oyes oyes honorable circuit court of Yoknapatawpha County come all and ye shall be heard’ and beneath which for that same length of time too except for the seven years between ’63 and ’70 which didn’t really count a century afterward except to a few irreconcilable old ladies, the white male citizens of the county would pass to vote for county and state offices, because when in ’63 a United States military force burned the Square and the business district, the courthouse survived. It didn’t escape: it simply survived: harder than axes, tougher than fire, more fixed than dynamite; encircled by the tumbled and blackened ruins of lesser walls, it still stood, even the topless smoke-stained columns, gutted of course and roofless, but immune, not one hair even out of the Paris architect’s almost forgotten plumb, so that all they had to do (it took nine years to build; they needed twenty-five to restore it) was put in new floors for the two storeys and a new roof, and this time with a cupola with a four-faced clock and a bell to strike the hours and ring alarms; by this time the Square, the banks and the stores and the lawyers’ and doctors’ and dentists’ offices, had been restored, and the English sparrows were back too which had never really deserted—the garrulous noisy independent swarms which, as though concomitant with, inextricable from regularised and roted human quarreling, had appeared in possession of cornices and gutter boxes almost before the last nail was driven—and now the pigeons also, interminably murmurous, nesting in, already usurping, the belfry even though they couldn’t seem to get used to the bell, bursting out of the cupola at each stroke of the hour in frantic clouds, to sink and burst and whirl again at each succeeding stroke, until the last one: then vanishing back through the slatted louvers until nothing remained but the frantic and murmurous cooing like the fading echoes of the bell itself, the source of the alarm never recognised and even the alarm itself unremembered, the actual stroke of the bell is no longer remembered by the vibration-fading air. Because they—the sparrows and the pigeons—endured, durable a hundred years, the oldest things there except the courthouse centennial and serene above the town most of whose people now no longer even knew who Doctor Habersham and old Alec Holston and Louis Grenier were, had been; centennial and serene above the change: the electricity and gasoline, the neon and the crowded cacophonous air; even Negroes passing in beneath the balconies and into the chancery clerk’s office to cast ballots too, voting for the same white-skinned rascals and demagogues and white supremacy champions that the white ones did—durable: every few years the county fathers, dreaming of bakshish, would instigate a movement to tear it down and erect a new modem one, but someone would at the last moment defeat them; they will try it again of course and be defeated perhaps once again or even maybe twice again, but no more than that. Because its fate is to stand in the hinterland of America: its doom is its longevity; like a man, its simple age is its own reproach, and after the hundred years, will become unbearable. But not for a little while yet; for a little while yet the sparrows and the pigeons: garrulous myriad and independent the one, the other uxorious and interminable, at once frantic and tranquil—until the clock strikes again which even after a hundred years, they still seem unable to get used to, bursting in one swirling explosion out of the belfry as though, the hour, instead of merely adding one puny infinitesimal more to the long weary increment since Genesis, had shattered the virgin pristine air with the first loud dingdong of time and doom.
Scene I
Courtroom. 5:30 P.M. November thirteenth.
The curtain is down. As the lights begin to go up:
Man’s Voice
(behind the curtain)
Let the prisoner stand.
The curtain rises, symbolising the rising of the prisoner in the dock, and revealing a section of the courtroom. It does not occupy the whole stage, but only the upper left half, leaving the other half and the bottom of the stage in darkness, so that the visible scene is not only spotlighted but elevated slightly too, a further symbolism which will be clearer when Act II opens—the symbolism of the elevated tribunal of justice of which this, a county court, is only the intermediate, not the highest, stage.
This is a section of the court—the bar, the judge, officers, the opposing lawyers, the jury. The defense lawyer is Gavin Stevens, about fifty. He looks more like a poet than a lawyer and actually is: a bachelor, descendant of one of the pioneer Yoknapatawpha County families, Harvard and Heidelberg educated, and returned to his native soil to be a sort of bucolic Cincinnatus, champion not so much of truth as of justice, or of justice as he sees it, constantly involving himself, often for no pay, in affairs of equity and passion and even crime too among his people, white and Negro both, sometimes directly contrary to his office of County Attorney which he has held for years, as is the present business.
The prisoner is standing. She is the only one standing in the room—a Negress, quite black, about thirty—that is, she could be almost anything between twenty and forty—with a calm impenetrable almost bemused face, the tallest, highest there with all eyes on her but she herself not looking at any of them, but looking out and up as though at some distant corner of the room, as though she were alone in it. She is—or un
til recently, two months ago to be exact—a domestic servant, nurse to two white children, the second of whom, an infant, she smothered in its cradle two months ago, for which act she is now on trial for her life. But she has probably done many things else—chopped cotton, cooked for working gangs—any sort of manual labor within her capacities, or rather, limitations in time and availability, since her principal reputation in the little Mississippi town where she was born is that of a tramp—a drunkard, a casual prostitute, being beaten by some man or cutting or being cut by his wife or his other sweetheart. She has probably been married, at least once. Her name—or so she calls it and would probably spell it if she could spell—is Nancy Mannigoe.
There is a dead silence in the room while everybody watches her.
Judge
Have you anything to say before the sentence of the court is pronounced upon you?
Nancy neither answers nor moves; she doesn’t even seem to be listening.
That you, Nancy Mannigoe, did on the ninth day of September, wilfully and with malice aforethought kill and murder the infant child of Mr and Mrs Gowan Stevens in the town of Jefferson and the County of Yoknapatawpha . . .
It is the sentence of this court that you be taken from hence back to the county jail of Yoknapatawpha County and there on the thirteenth day of March be hanged by the neck until you are dead. And may God have mercy on your soul.
Nancy
(quite loud in the silence, to no one, quite calm, not moving)
Yes, Lord.
There is a gasp, a sound, from the invisible spectators in the room, of shock at this unheard-of violation of procedure: the beginning of something which might be consternation and even uproar, in the midst of, or rather above which, Nancy herself does not move. The judge bangs his gavel, the bailiff springs up, the curtain starts hurriedly and jerkily down as if the judge, the officers, the court itself were jerking frantically at it to hide this disgraceful business; from somewhere among the unseen spectators there comes the sound of a woman’s voice—a moan, wail, sob perhaps.
Bailiff
(loudly)
Order! Order in the court! Order!
The curtain descends rapidly, hiding the scene, the lights fade rapidly into darkness: a moment of darkness: then the curtain rises smoothly and normally on:
Scene II
Stevens living room. 6:00 P.M. November thirteenth.
Living room, a center table with a lamp, chairs, a sofa left rear, floor lamp, wall-bracket lamps, a door left enters from the hall, double doors rear stand open on a dining room, a fireplace right with gas logs. The atmosphere of the room is smart, modern, up-to-date, yet the room itself has the air of another time—the high ceiling, the cornices, some of the furniture; it has the air of being in an old house, an antebellum house descended at last to a spinster survivor who has modernised it (vide the gas fire and the two overstuffed chairs) into apartments rented to young couples or families who can afford to pay that much rent in order to live on the right street among other young couples who belong to the right church and the country club.
Sound of feet, then the lights come on as if someone about to enter had pressed a wall switch, then the door left opens and Temple enters, followed by Gowan, her husband, and the lawyer, Gavin Stevens. She is in the middle twenties, very smart, soignée, in an open fur coat, wearing a hat and gloves and carrying a handbag. Her air is brittle and tense, yet controlled. Her face shows nothing as she crosses to the center table and stops. Gowan is three or four years older. He is almost a type; there were many of him in America, the South, between the two great wars: only children of financially secure parents living in city apartment hotels, alumni of the best colleges, South or East, where they belonged to the right clubs; married now and raising’ families yet still alumni of their schools, performing acceptably jobs they themselves did not ask for, usually concerned with money: cotton futures, or stocks, or bonds. But this face is a little different, a little more than that. Something has happened to it—tragedy—something, against which it had had no warning, and to cope with which (as it discovered) no equipment, yet which it has accepted and is trying, really and sincerely and selflessly (perhaps for the first time in its life) to do its best with according to its code. He and Stevens wear their overcoats, carrying their hats. Stevens stops just inside the room. Gowan drops his hat onto the sofa in passing and goes on to where Temple stands at the table, stripping off one of her gloves.
Temple
(takes cigarette from box on the table: mimics the prisoner; her voice, harsh, reveals for the first time repressed, controlled, hysteria)
Requiem for a Nun Page 4