 The Cavalcade of America presented by DuPont, maker of better things for better living through chemistry. The Cavalcade of America presents Madeline Carroll, brilliant star of the American screen in The Heart and the Fountain, an original radio play written by Margaret Riley. The story of a woman of astonishing genius in American journalism, Margaret Fuller. The achievements of Margaret Fuller as this nation's first woman, foreign correspondent, and in the powerful intellectual advance of the 19th century, mark another triumph of the human spirit. Supporting Madeline Carroll in the role of Margaret Fuller are the Cavalcade players. Our orchestra and the original musical score are under the direction of Don Worries. DuPont, maker of better things for better living through chemistry, presents Madeline Carroll as Margaret Fuller on the Cavalcade of America. Tonight in the year 1835 in Groton, Massachusetts, a large house at the top of a hill. In an upstairs bedroom, the light of a lamp falls on the pallid face of a girl murmuring in the illness of fever. Nothing to be afraid of. Wind and sea, wild sea. Margaret, Margaret wake up. Bursting, throbbing. Margaret. Yes. Yes. Why are you shaking me, Doctor? You were dreaming Margaret. When I sleep, I always dream of death. Don't talk, Margaret. Doctor, I want freedom. I want my life to be my own, to think and write what I believe. I must leave here and go to Boston. You'll get over that idea, Margaret. I know. I've seen many, many women like you who want to make them over the world. They all married and had children. That's where you'll find your happiness, Margaret. No, Doctor, you're wrong. Someday you'll understand what I mean. Supposing you do go to Boston. You'll be one woman against the world. You can't vote. You can't work like a man. You can't even depend upon other women to understand and help you. I'll have help. Who will help you? Ralph Waldo Emerson. He's very much interested in my writing. I know he'll understand. But Emerson is not enough. The world won't accept women writers no matter how good they are. I believe they will. Besides, I must be a part of the work they're doing. They're planning a colony. A farm where they're all lived together. A modern utopia. The greatest men in America. Emerson and Thoreau, Hawthorne and Alcott. All working together to show the world how to live. That's where I must be. Mr. Hawthorne, that you don't approve? Am I being edited of the dial? I had hoped that all you men at Brook Farm would help me and support me. Frankly, Miss Fuller, I don't approve. Why not, Hawthorne? It's no job for a woman. But Margaret's better equipped than anyone in America. Don't you agree, Mr. Hawthorne? Yes, yes, I do, Emerson. But of course we men will have to do the actual writing. Good afternoon, everyone. I thought I saw visitors. I hope Ripley's porch isn't sensitive, Thoreau. Your boots are uncommonly muddy. Oh, I'm indeed sorry. I've been walking with a muskrat. And his conversation was so entertaining, I didn't notice my feet. And what did the muskrat have to say, Mr. Thoreau? Ah, great deal, Miss Fuller. Between us we decided that the creator meant us to toil on the seventh day and to reserve the other six for joy in one night. It sounds to me, sir, that you're trying to make a religion of laziness. Is that what you mean by transcendentalism? Meaning is very simple, Miss Fuller. Anyone who knows the word of Latin can understand it. I think people should know what it means in English. Well, I explain it very carefully to my Orphic sayings. We're going to climb beyond the present conditions of life to something better. But the word itself is so vague. I think somebody should explain it. Everyone in the country is talking about what you're doing here at Brook Farm, but no two people seem to agree on what it is. The explanation is before you, Miss Fuller. This is the kind of social and economic reorganization the world needs. No, I don't agree with you, Ripley. Brook Farm is trying to establish a new philosophy. A better way of thinking. Now, just a minute, Emerson, you're forgetting this is an artistic experiment to create a truly American literature. If you wish you'd all read my Orphic sayings, then you'd know this is a religious problem. Pardon me, gentlemen, but our purpose here is to live according to the laws of nature. Oh, no, Fuller, we're here to reorganize society. But nature is the answer. I tell you, from an artistic standpoint, you must consider religion first. As I explained it in my Orphic sayings... Chancellor, I'm completely confused. You say you want to help humanity. How can you when you shut yourselves away from the rest of the world? Your ideas are all very fine, but you don't make them work. If you really want to help people, you must go out and live with them. May I interrupt your work a moment? Certainly, Warder. What is it? Horace Greeley has come up to Boston to see me. About you. Uh, Horace Greeley? Me? Yes, he asks that we release you from the dial so that you can become literary critic for the New York Tribune. The Tribune? I can't believe it. It's true, my dear. But, Warder, what does he mean that I should use a man's name? No, Margaret, you're to sign your work with your own name. You may go on and be a woman. But for people read a woman? George Sand is compelled to write under a man's name. People have never accepted a woman's writing before. So I remind it, Mr. Greeley. His reply was that you don't write like a woman. I don't know what to say. If I were true to my sex, I would swoon and require smelling thoughts. Please don't. Margaret, you have more important work to do. The world is larger in New York. Take my love and my blessing and go. And you, mine, Warder. This is like the moment in a play when... when words become futile, when only silence can speak what is in the heart. Wait until you hear what the fuller woman is doing for the Tribune now, Anderson. What now? She's going over to the prison to talk to the prisoners. Well, that's a woman for you. I tell you, if Greeley doesn't restrain her, people are going to stop buying the Tribune. Of course. She wants to associate with criminals even in print. Well, it's clear to me. As a woman, Fuller has no self-respect. I doubt the truth of that remark, Mr. Wilkins. Oh, Miss Fuller, I... I have a great deal of self-respect. So much that I can't allow other women to be trampled in the mud and still hold my head high. No matter what you believe, Miss Fuller, you're risking your life when you visit the prison. Come on, let's help these women, and I'm not afraid to try. It may interest you to know that I'm going to visit Blackwells Island tomorrow. Blackwells Island? Why, you can't. If you'd read the Tribune, Miss Fuller, you'd know the plague has broken out there. I have read it. That's why I'm going. They'll need help now more than ever. Here, Miss Fuller. Here's a cell where both prisoners don't have the plague. You mean you don't segregate them, Matron? No. We haven't enough money to handle them. Girls, this is Miss Fuller. She's here to talk to you. Girls, I... If you don't mind, there are some things I'd like to know about you. I'm not going to say anything. You don't understand. I want to help you. What can you do? If you'll only tell me, I... All you'll hear from me is this. I killed a man. How and why is my own business? Be careful, young lady. You'll go back to solitary confinement. If you want to, Miss Fuller, you can try talking to the other one. Molly, pay attention. Tell me, Molly. Do you have a husband and children? Yeah. Well, where are they? Well, I don't know. But don't you ever hear from your husband? No. No, he left me. He didn't like the baby. Hasn't anyone tried to find him for you? No. But that's appalling. It's cruel. Who else thinks so? Mind your tongue, you. Please. Tell me, Molly, what brought you here? Stealing. But wasn't there any other way? No. I tried begging. What happened to your baby? I don't know. I don't know where he is. He was a pretty baby. I'm sorry, Molly. That's all we have time for, Miss Fuller. You'll have to stop. Very well. Thank you, girls. I hope there's something that I'm Miss Fuller. Well, young woman, now you know what these creatures are like. They don't want help. What else can you expect, matron? How can they recognize kindness when they've never known it? I won't stop until every one of these women gets a chance to live like a human being. You'd better stay away from us, Miss Fuller. This is no place for a woman. Matron, for the first time I agree with you. It's no place for anybody. I could go on reading complaints from tribune subscribers in different ways. Miss Fuller, I demand that you stop meddling in public affairs that are none of your business. Mr. Greeley, I thought you hired Miss Fuller to be a female literary critic, not a reformer. Critic makes a practice of understanding life, as too. Margaret's a literary critic. She's consequently got the right to raise a few questions for society to think about, too. And I haven't neglected my criticisms in order to do other work, Mr. McElriff. Of course you haven't, Margaret. Everyone knows, gentlemen, Miss Fuller's work is a critic who's second only to Ed Garland Polls. And that's another thing. You've been insulting the best writers of the day, Miss Fuller. What I said about them is true. Why did you hire a critic if you don't want criticism? Gentlemen, I've heard enough. If you don't approve Miss Fuller as a critic, I'll give her a more important job. She's going to Europe as our foreign correspondent. What? Foreign correspondent? That's ridiculous. I can't do it, really. Why no woman's ever done such a thing? Of course not. No woman's ever been capable of having a job before. You coming to my office now, Margaret? Yes. Good day, gentlemen. Look here, Greeley, you stupid... Mr. Greeley, you know how much this means to me, but I don't know if I can do it. I've never had experience in that kind of work. You're a journalist, aren't you? Right now, Europe's at the boiling point. Has been ever since Matanik seized power from Napoleon 20 years ago. Now Italy's getting ready to fight for independence. She won't tolerate Austrian oppression much longer. I'm surprised she has this long. Nobody knows exactly what's happening in Italy, except the Pope. We'll have to get an audience with him. He may not grant one to a woman journalist. The person who can help us is Giuseppe Mazzini. He's in exile now in England. You'd better go there first. I'll arrange for it to be Thomas Carlisle. Get him to introduce you to Mazzini. Then when everything's arranged, go to Rome. Now, Margaret, I'll give you a new job. Thank you, Mr. Greeley. Well? I was just waiting to hear you say, Go east, young woman, go east. Mazzini and her ideas are in Mazzini. Please, please, Mr. Carlisle, if you would shout a little less, man, you rattle the dishes. I am sorry, Mrs. Carlisle, indeed I am, but I cannot listen to this foolishness from Mazzini and Miss Fuller. The divine right to liberty. Liberty to die by starvation is not divine. You do not know what it means, Carlisle, to send your friends to the scaffold in pursuit of liberty. I have done that. I have watched them die. These are only opinions to you, but to me, they're life and death. And I am being sentimental, Mazzini, like a woman, like Miss Fuller. I tell you, I won't put my pen to people for such phallid idyll. If you want, Mr. Carlisle, I will. Don't you see what idyll is doing? She's not just fighting to rid herself of wastrel and tyranny, but for the freedom of the world, and I want to be a part of that fight. Oh, you will help us, senorina. You will write for us in the American newspapers. I will, senor, gladly. I will do anything to rid the world of tyrants. There's no other difference between strength and tyranny. I do, Mr. Carlisle. Only tyrants make people pay for progress with their lives. And you, Mazzini, you don't look a fact in the face. You can't fight until you're prepared. We will be prepared, Carlisle. Garibaldi is organizing the people now. When I return to Italy, we will work together to help the Holy Father. He's our real leader. When you get to Rome, senorina Fuller, you must see him. I will arrange it. And I will do all that I can to help you. Hey, you're out of your minds. You're a woman, Miss Fuller. You can't be expected to know better. But for you, Mazzini, there's no excuse. You have the dreams of a child. I agree with you, Carlisle. And it is because I have not lost the dreams of a child that I am going to fight for liberty. Right, senor Mazzini, right. Our trouble is that we have forgotten the things we wanted as children. If we could remember that freedom, the world would not know of tyranny. Yeah, I'm back. I present to Marquesi Giovanni Dorsely. Marquesa. I am charmed, senorina. Senorina has just had an audience with the Holy Father. Do you have time to escort her through the chaffers? I should be delighted. Thank you, senor. Good day, senorina. Good day, Monsignor. Pardon, senorina, I have not heard your name. Your eyes... I was looking in your eyes. And the Monsignor speaks English so well. However, senorina, no language can say what eyes can say. Do you know what your eyes tell me? That we should not look at each other again until we stop talking. Then I think that we should keep on talking. Marquesa, please be sensible. What shall I talk, senorina? To a woman like you? You are a member of the revolutionary party. I recognize your uniform. Talk to me about that. Things I can write about in my work. In your work, senorina? Yes, I'm a writer. I work for the New York Tribune. That's, senorina, I cannot believe. Marquesa, don't treat me like a woman. Tell me things I can write home to my people. I have work to do. Don't talk to me as you do to silly girls about my eyes. Senorina, is it your work that makes you flush like this when I touch your arms so lightly? Look at me, senorina. In this country you will learn that women are for love and laughing and life. Am I the first man to tell you this? Senorina, for one moment, look at me. Yes, I will look at you. But I will remember that all my life I have worked without thought of happiness for the things I believe. This is a dangerous time in Rome, Marquesa, and you choose our little time together for love-making. Is that not work for a woman, senorina? To make one man happy. You being the man, I suppose. Why are you laughing? I had forgotten, senorina. I do not yet know your name. Here, Giovanni. Here I am on the balcony. Beautiful you are tonight. You should stand like this through all time, leaning against my heart. You should not be working, Marquesa. I was working. But somehow I couldn't go on with it. Perhaps I'm tired. No. That did not stop you worth, Marquesa. Did you think of me? Tell me. This little pulse in your throat tells me it is true. You were thinking of me. Yes. Yes, I thought of you. Listen, Giovanni. Listen to the music down there. The people sing and dance when the fighting may begin at any minute. It hurts me. It frightens me. Do not think of the revolution, dear. Be like them down there. Take a little happiness while you can. Put your hand here on my heart. This is what I want. To be here with you, I thought I wanted to change the world. And I find I cannot even change myself. Found that you are a woman, my sweetheart. Is that then so difficult? This moment is ours. And we must live our lives as if tomorrow were the end. Yes. That's what I thought when I came out to the balcony tonight. Words. Words cannot speak for us now, Giovanni. There's a taste of death in the air. Do you feel it? Don't you hear death in that music? No, soft, sweetheart. Be calm. Think not of the world or of death, Carissima. But of our lives together. Our lives together. Look at yourself in my eyes again. See how beloved you are. Here I am, all the way across the world to be a mirror for your love. How strange it is. Yes, Amore? That I should come so close to death that I should be here waiting for this fury to break and touch for the first time. The first time in my whole life. Lovely stuff of life. A night in May 1850. There now. Try to rest. Don't move. You're going to be all right. Mattzini, what's happened? Where's Giovanni? He's safe. He has gone to the mountains to get your baby. Come, you must hurry. You must leave Rome as soon as he returns. What do you mean? Garibaldi has been forced to flee the city. Hurry, Marqueso, you have little time. I beg you to go back to America. You can't pay as much as we can with a sword. If you say I must, I will. And I will make them listen to the truth. But you, Mattzini, where are you going? I must stay here. I go down with my ship. This is goodbye, Marqueso. Not goodbye, Mattzini. Your ship will not go down. Men like you conquer always. Oh, Giovanni, you startled me. Oh, your hands are cold, Marqueso. Is anything wrong, dear? No, no. About what were you thinking, Marguerita? I see, Giovanni. Stereo. Exciting, terrible, exciting. No, you should not be here on the deck, dear. There is a storm coming. There is such a dark feeling around my heart. Oh, Giovanni, will I ever see America again? Of course you will, Marguerita. You have the nerves from worry about the baby that is all. You are tired now. But you have important things to do. I know, Giovanni. But I may not have time for them. Now I feel only a strange calm, as if the sea is reaching out her wide arms to come to life. Oh, that is not strange, Marguerita. Each of us feels close to one part of the universe. Souls are made of different things, earth or air, frost or fire, wind or sea. Mine is the sea. Oh, come, Marguerita. Come inside, dear. You shiver with the cold. In just a moment, darling. I want to stay here a while. Alone. Only the wind and night in my heart. Only the doom of the sea. Only a vast, eternal emptiness. There is no beginning here. No end. I am not of the dust of earth, but of the wild, deep sea. How it is calling me. How strange. At sea. Shipwreck, July 19th, 1850. By birth, a citizen of New England. By profession and a parcel of freedom. By genius, belonging to the world. For their performance of the Heart and the Fasten, the story of Margaret Fuller, who opened a whole new field of opportunity to women in the American way of life. And our depart brings you news of chemistry at work in our world. Milk is often called the perfect food. The series of chemical reactions that enable a cow to manufacture valuable proteins, vitamins, and minerals out of the ordinary fodder she eats is one of nature's miracles. But there was a day not so long ago when we couldn't be sure milk was safe. Flies infested dairy barns. Storekeepers dipped raw milk out of unprotected cans and sold it in bulk. Today America drinks better, safer milk. 100 billion pounds a year. More milk per capita than any other country but Switzerland. Chemistry stands guard over this white, nutritious river of milk flowing from green pastures of America to your table. Acids furnished by the chemist keep dairy silage green, enabling the farmer to give his cows the same high-grade fodder all year round and preserving the charge of precious vitamins. Chemical balancing gives dairy herds a scientific diet. The 23 million cows in the United States carry their milk under their own power to the milking machines. There the chemist enters the production line again. DuPont formaldehyde and insecticide sprays keep dairy barns clean, destroying germs and flies. And butterfat is tested with Babcock quality sulfuric acid, another DuPont product. A modern milk packaging plant, clean and sanitary, sparkles in its coat of white paint, which is very likely made with DuPont titanium dioxide pigment. DuPont tri-sodium phosphate is used with strong alkali and cleansing milk bottles. Because they'll stand the strong alkali, more and more brushes with DuPont's nylon bristles are being used to wash the bottles, coolers and sanitary tubing. Nylon bristles last three or four times as long as hog bristles and take up only one-fifth as much water. This job of protection doesn't end at the bottling plant. On their way to your door, many milk bottles today wear little hoods of cellophane cellulose film as a further sanitary protection. And all along the way, from dairy or pasteurizing plant to you, milk and milk products are protected by low temperatures, thanks to modern chemical refrigerants. Milk and milk products, the largest single source of farm income, make up more than one-quarter of the food used by the average American. Because it is such a good food, it's of extra importance at this time in our second line of national defense, our food line. That's why the white river of milk is patrolled by the chemists, who bring you, in the words of the DuPont pledge, better things for better living through chemistry. And now a word from the Star of Next Weeks program, Kenneth Delmar of the Cavalcade Players. Julius, the street boy. Sink or swim, bound to rise. Tom the boot black and Nelson the news boy. Remember them? They were written by Horatio Alger, whose life story we dramatize on Cavalcade next week. Alger's dream was to write a great novel. He never did. But what he did write instilled in countless American boys his simple creed, the will to succeed. We hope you will join us next week when we present his story on Cavalcade of America. The Cavalcade of America joins this month in honoring the centenary of a famous newspaper, the New York Herald Tribune. Almost a century from the day Margaret Fuller joined its staff. Your announcer is Clayton Collier, sending best wishes from DuPont. National Broadcasting Company.