For a time the workers toiled in the shadow in their earthly world, and dancing continued in the lighted paradise of the rulers above, until presently, in sign that the monument was complete, a large yellow disc was hoisted amid acclamation above the highest platform between the columns. But at the same moment a banner was uplifted amongst the people, and a small figure was seen gesticulating. Angry fists were shaken and the banner and speaker disappeared, only to reappear almost immediately in another part of the dense crowd. Again hostility, until finally among the French workers away up on the right, the first Communist manifesto found favour. Rallying around their banner the communards ran shouting down the steps, gathering supporters as they came. Above, all is confusion, kings and queens scuttling in unroyal fashion with flying velvet robes to safe citadels right and left, while the army prepares to defend the main citadel of capitalism with its golden disc of power. The communards scale the steps to the fortress which they finally capture, haul down the disc and set their banner in its place. The merry music of the “Carmagnole” is heard, and the victors are seen expressing their delight by dancing first on one foot and then on the other, like marionettes. Below, the masses dance with them in a frenzy of joy. But a pompous procession of Prussian legions is seen approaching, and, amid shrieks and wails of despair, the people are driven back, and their leaders set in a row and shot. Thereafter came one of the most moving scenes in the drama. Several dark-clad women appeared carrying a black pall supported on sticks, which they set in front of the bodies of the leaders so that it stood out, an irregular pointed black shape against the white columns behind. But for this melancholy monument the stage was now empty. Thick clouds of black smoke arose from braziers on either side and obscured the steps and the platform. Through the smoke came the distant sound of Chopin’s Marche Funèbre, and as the air became clearer white figures could be dimly seen moving around the black pall in a solemn dance of mourning. Behind them the columns shone ghostly and unreal against the glimmering mauve rays of an uncertain and watery dawn.
The second part of the pageant opened in . Once again the rulers were feasting and the workers at toil, but the scene was enlivened by the presence of the leaders of the Second International, a group of decrepit professorial old men, who waddled in in solemn procession carrying tomes full of international learning. They sat in a row between the rulers and the people, deep in study, spectacles on nose. The call to war was the signal for a dramatic appeal from the workers to these leaders, who refused to accept the Red Flag, but weakly received patriotic flags from their respective governments. Jaurès, elevated to be the symbol of protest, towered above the people, crying in a loud voice, but fell back immediately as the assassin’s shot rang out. Then the people divided into their national groups and the war began. It was at this point that “God Save the King” was played as the English soldiers marched out, in a comic manner which made one think of it as “Gawd save the King.” Other national anthems were burlesqued in a similar fashion, but none quite so successfully. A ridiculous effigy of the Tsar with a knout in his hand now occupied the symbolic position and dominated the scene. The incidents of the war which affected Russia were then played. Spectacular cavalry charges on the road, marching soldiers, batteries of artillery, a pathetic procession of cripples and nurses, and other scenes too numerous to describe, made up that part of the pageant devoted to the war.
Then came the Russian Revolution in all its stages. Cars dashed by full of armed men, red flags appeared everywhere, the people stormed the citadel and hauled down the effigy of the Tsar. The Kerensky Government assumed control and drove them forth to war again, but soon they returned to the charge, destroyed the Provisional Government, and hoisted all the emblems of the Russian Soviet Republic. The Entente leaders, however, were seen preparing their troops for battle, and the pageant went on to show the formation of the Red Army under its emblem the Red Star. White figures with golden trumpets appeared foretelling victory for the proletariat. The last scene, the World Commune, is described in the words of the abstract, taken from a Russian newspaper, as follows:—
Cannon shots announce the breaking of the blockade against Soviet Russia, and the victory of the World Proletariat. The Red Army returns from the front, and passes in triumphant review before the leaders of the Revolution. At their feet lie the crowns of kings and the gold of the bankers. Ships draped with flags are seen carrying workers from the west. The workers of the whole world, with the emblems of labour, gather for the celebration of the World Commune. In the heavens luminous inscriptions in different languages
