R.U.R., or Rossum’s Universal Robots is a play written in 1920 by Karel Čapek, a Czech writer who wrote many plays and novels, many of them with science-fiction and dystopian themes. R.U.R. is perhaps the most well-known of these works in the English-speaking world because it brought the word “robot” into the language. “Robot” is derived from the Czech word meaning “worker.”
The play is set in the island headquarters of the R.U.R. corporation. The corporation has been manufacturing artificial beings which resemble humans, but who are tireless workers. They can be mass-produced in large numbers and are being adopted as workers in many countries. In the first scene of the play, they are visited by a young woman, Helena Glory, who aspires to relieve the lot of the robots, who she sees as oppressed. However, in what must be the fastest seduction scene in all drama, she is wooed and agrees to marry Harry Domin, the factory manager, who she has just met. She still however aspires to improve the life of robots and find a way to give them souls. Ultimately, however, this admirable desire leads to disaster for humankind.
The play was translated into English, and slightly abridged, by Paul Selver and Nigel Playfair in 1923. This version quickly became popular with both British and American audiences and was well received by critics.
voce. Five hundred and twenty million.
Hallemeier
Life was a good thing, life was—Looking out of window. Directly to Fabry. Fabry, switch the current into that railing.
Fabry
Why? Rushes to electric installation at L.
Hallemeier
They’re grabbing hold of it. Domin rises—straightens up. All rise.
Dr. Gall
Connect it up.
Hallemeier
Fine, that’s doubled them up. Two, three, four killed.
Dr. Gall
They’re retreating. Domin sits.
Hallemeier
Five killed.
Dr. Gall
Pause. The first encounter.
Hallemeier
They’re charred to cinders, my boy. Who says we must give in? Music stops.
Domin
Alquist and Gall sit. Wiping his forehead. Perhaps we’ve been killed this hundred years and are only ghosts. It’s as if I had been through all this before, as if I’d already had a mortal wound here in the throat. Looking at each as he speaks. And you, Fabry, had once been shot in the head. And you, Gall, torn limb from limb. And Hallemeier knifed.
Hallemeier
Fancy me being knifed. Looks at each. Then speaks. Why are you so quiet, you fools? Steps down. Speak, can’t you?
Alquist
And who is to blame for all this?
Hallemeier
Nobody is to blame except the Robots.
Alquist
No, it is we are to blame. You, Domin, myself—all of us. For our own selfish ends, for profit, for progress, we have destroyed mankind. Now we’ll burst with all our greatness.
Hallemeier
Rubbish, man. Mankind can’t be wiped out so easily.
Alquist
It’s our fault. It’s our fault. Rises, coming R. of Gall.
Dr. Gall
No! I’m to blame for this, for everything that’s happened. He leaves the window and comes down to end of couch.
Fabry
You, Gall?
Dr. Gall
I changed the Robots.
Busman
What’s that?
Dr. Gall
I changed the character of the Robots. I changed the way of making them. Just a few details about their bodies. Chiefly—chiefly, their—their irritability.
Hallemeier
Damn it, why?
Busman
What did you do it for?
Fabry
Why didn’t you say anything?
Dr. Gall
I did it in secret. I was transforming them into human beings. In certain respects they’re already above us. They’re stronger than we are.
Fabry
And what’s that got to do with the revolt of the Robots?
Dr. Gall
Everything, in my opinion. They’ve ceased to be machines. They’re already aware of their superiority, and they hate us as they hate everything human.
Domin
Perhaps we’re only phantoms.
Fabry
Stop, Harry. We haven’t much time, Doctor Gall.
Domin
Fabry, Fabry, how your forehead bleeds where the shot pierced it.
Fabry
Crosses to Gall. Be silent! Doctor Gall, you admit changing the way of making the Robots.
Dr. Gall
Yes.
Fabry
Were you aware of what might be the consequences of your experiment?
Dr. Gall
I was bound to reckon with such a possibility.
Fabry
Amusing. Why did you do it, then?
Helena enters L. 1.
Dr. Gall
For my own satisfaction. The experiment was my own.
Helena
That’s not true, Doctor Gall! Crosses to couch.
Domin
Rises. Helena, you? Crosses to her. Let’s look at you. Oh, it’s terrible to be dead. He rises and crushes her in his arms.
Helena
Stop, Harry.
Domin
No, no, Helena, don’t leave me now. You are life itself.
Helena
No, dear, I won’t leave you. But I must tell them. Doctor Gall is not guilty.
Fabry
Excuse me. Gall was under certain obligations.
Helena
No. He did it because I wanted it. Tell them, Doctor Gall—how many years ago did I ask you to—?
Dr. Gall
I did it on my own responsibility.
Helena
Don’t believe him. I asked him to give the Robots souls.
Domin
This has nothing to do with the soul.
Helena
That’s what he said. He said that he could change only a physiological—a physiological—
Hallemeier
From up at window. A physiological correlate?
Helena
Yes. But it meant so much to me that he should do even that.
Domin
Why?
Helena
I thought that if they were more like us they would understand us better. That they couldn’t hate us if they were only a little more human.
Domin
Nobody can hate man more than man.
Helena
Oh, don’t speak like that, Harry. It was so terrible, this cruel strangeness between us and them. That’s why I asked Gall to change the Robots. I swear to you that he didn’t want to.
Domin
But he did it.
Helena
Because I asked him.
Dr. Gall
I did it for myself as an experiment. Up to window.
Helena
No, Doctor Gall! I know you wouldn’t refuse me.
Domin
Why?
Helena
You know, Harry.
Domin
Yes, because he’s in love with you—like all of them. Fabry up to window. Pause. Domin takes her in his arms.
Hallemeier
Good God, they’re sprouting up out of the earth. Why, perhaps these very walls will change into Robots.
Busman
Rises; crosses to Gall. Gall, when did you actually start these tricks of yours?
Dr. Gall
Three years ago.
Busman
Aha. And on how many Robots altogether did you carry out your improvements? Walking to and fro.
Dr. Gall
A few hundred of them.
Busman
Ah! That means for every million of the good old Robots there’s only one of Gall’s improved pattern. Back to table L. C.
Domin
What of it? Crossing around L., he stands upstage in the L. 2 doorway.
Busman
That it’s of no consequence whatsoever.
Fabry
Busman’s right. Helena sits in armchair R. of L. C. table.
Busman
I should think so, my boy; but do you know what is to blame for this lovely mess?
Fabry
What?
Busman
The number! Crosses to L. of L. C. table. Upon my soul, we might have known that some day or other the Robots would be stronger than human beings, and that this was bound to happen. And we were doing all we could to bring it about as soon as possible. You, Domin, you, Fabry, myself—
Domin
Are you accusing us? Turning on him.
Busman
Oh, do you suppose the management controls the output? It’s the demand that controls the output.
Helena
And is it for that we must perish?
Busman
That’s a nasty word, Madame Helena. We don’t want to perish. I don’t, anyhow. He
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