You don't know nothin' ... that's it ... You don't see nothin'. You was all blind together with your eyes open. He can go an' look behind the great willow ... by the alder-trees ... behind the parson's field ... by the pool ... there he can see the wee thing.... BERND You've done somethin' so awful? AUGUST You've been guilty o' somethin' so unspeakable? _ROSE faints. The men look upon her confounded and helpless. AUGUST supports her._ THE CONSTABLE 'Twould be best if she came along with me to headquarters. There she can make a voluntary confession. If what she says isn't just fancies, it'll count a good deal in her favour. AUGUST [_From the depth of a great experience._] Those are no fancies, sergeant. That girl ... what she must have suffered! THE CURTAIN FALLS THE RATS A BERLIN TRAGI-COMEDY PERSONS HARRO HASSENREUTER, _formerly a theatrical manager._ MRS. HARRO HASSENREUTER. WALBURGA, _their daughter._ PASTOR SPITTA. ERICH SPITTA, _postulant for Holy Orders, his son._ ALICE RUeTTERBUSCH, _actress._ NATHANAEL JETTEL, _court actor._ KAeFERSTEIN, DR. KEGEL, _Pupils of HASSENREUTER._ JOHN, _foreman mason._ MRS. JOHN. BRUNO MECHELKE, _her brother._ PAULINE PIPERCARCKA, _a servant girl._ MRS. SIDONIE KNOBBE. SELMA, _her daughter._ QUAQUARO, _house-steward._ MRS. KIELBACKE. POLICEMAN SCHIERKE. TWO INFANTS. THE FIRST ACT _The attic of a former cavalry barracks in Berlin, A windowless room that receives all its light from a lamp which burns suspended over a round table. From the back wall opens a straight passage which connects the room with the outer door--a door with iron hasps and a primitive signal bell which any one desiring to enter rings by means of a bell rope. A door in the right wall leads to an adjoining room, one in the left wall leads to the stairs into the loft immediately under the roof. Into this store room, as well as into the space visible to the spectator, the former theatrical manager, HARRO HASSENREUTER has gathered his collection of properties. In the prevalent gloom it is difficult to decide whether the place is the armour room of an old castle, a museum of antiquities or the shop of a costumer. Stands with helmets and breast-plates are put up on either side of the passage; a row of similar stands almost covers the two sides of the front room. The stairs wind upward between two mailed figures. At the head of the stairs is a wooden trap-door. In the left foreground, against the wall, is a high desk. Ink, pens, old ledgers, a tall stool, as well as several chairs with tall backs and the round table make it clear that the room serves the purposes of an office. On the table is a decanter for water and several glasses; above the desk hang a number of photographs. These photographs represent HASSENREUTER in the part of Karl Moor (in Schiller's