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Zurich Lectures in Advanced Mathematics

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Pesin_titelei.qxd 26.5.2004 9:58 Uhr Seite 3

Yakov B. Pesin

Lectures on partial
hyperbolicity
and stable ergodicity

S E
M M
E S

S E
M
E S
M
European Mathematical Society
Pesin_titelei.qxd 26.5.2004 9:58 Uhr Seite 4

Author:

Yakov B. Pesin
Department of Mathematics
The Pennsylvania State University
University Park, PA 16802
USA

2000 Mathematics Subject Classification (primary; secondary): 37-xx; 58-xx.

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To my wife, Natasha
Contents
1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
2. The Concept of Hyperbolicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
2.1. Complete hyperbolicity (Anosov systems) . . . . . . . . . . . . . . . . . . 5
2.2. Definition of partial hyperbolicity . . . . . . . . . . . . . . . . . . . . . . . . . . 9
2.3. Examples of partially hyperbolic systems . . . . . . . . . . . . . . . . . . 16
3. The Mather Spectrum Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
3.1. Mather’s spectrum of a diffeomorphism . . . . . . . . . . . . . . . . . . . . 18
3.2. Stability of Mather’s spectrum . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
3.3. Hölder continuity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
4. Stable and Unstable Foliations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.1. Foliations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
4.2. Stable Manifold theorem. The statement . . . . . . . . . . . . . . . . . . 30
4.3. The invariance equation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
4.4. Local stable manifold theorem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
4.5. Construction of global manifolds . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
4.6. Filtrations of foliations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
4.7. The Inclination Lemma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
4.8. Structural stability of Anosov diffeomorphisms . . . . . . . . . . . . . 45
5. Central Foliations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
5.1. Normal hyperbolicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
5.2. Local stability of normally hyperbolic manifolds . . . . . . . . . . . 49
5.3. Integrability of the central foliation . . . . . . . . . . . . . . . . . . . . . . . . 50
5.4. Central foliation and normal hyperbolicity . . . . . . . . . . . . . . . . . 55
5.5. Robustness of the central foliation . . . . . . . . . . . . . . . . . . . . . . . . . 55
5.6. Weak integrability of the central foliation . . . . . . . . . . . . . . . . . . 62
6. Intermediate Foliations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
6.1. Non-integrability of intermediate distributions . . . . . . . . . . . . . 64
6.2. Invariant families of local manifolds . . . . . . . . . . . . . . . . . . . . . . . . 65
6.3. Insufficient smoothness of intermediate foliations . . . . . . . . . . 70
7. Absolute Continuity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
7.1. The holonomy map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
7.2. Absolute continuity of local manifolds . . . . . . . . . . . . . . . . . . . . . 83
7.3. Ergodicity of Anosov maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
7.4. An example of a non-absolutely continuous foliation . . . . . . . 86
8. Accessibility and Stable Accessibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
8.1. The accessibility property . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
viii YA. PESIN

8.2. Accessibility and topological transitivity . . . . . . . . . . . . . . . . . . . 88

8.3. Stability of accessibility I: C 1 -genericity . . . . . . . . . . . . . . . . . . . 90
8.4. Stability of accessibility II: particular results . . . . . . . . . . . . . . . 99
9. The Pugh–Shub Ergodicity Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
10. Stable Ergodicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
10.1. The Pugh–Shub Stable Ergodicity Theorem . . . . . . . . . . . . . . 112
10.2. Frame flows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
10.3. Pathological foliations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
1. Introduction
The goal of these lectures is to present a comprehensive exposition of mod-
ern partial hyperbolicity theory. They contain the core of the theory as well
as outline some recent new achievements in this rapidly developing area.
The material is accessible to students and non-experts who possess some
basic knowledge in dynamical systems and wish to learn some new phenom-
ena outside classical hyperbolicity. These lectures may also be of interest
to experts as they provide a unified and systematic treatment of partial
hyperbolicity and stable ergodicity and are unique in that.
Partial hyperbolicity is a relatively new field, just over 30 years old, but
has proven to be rich in interesting ideas, sophisticated techniques and ex-
citing applications. It appears naturally in some models in science. To
illustrate this consider the FitzHugh-Nagumo partial differential equation
which is used in neurobiology to model propagation of electrical impulse
through the nerve membrane:
ut (x, t) =
∆x u(x, t) + h(u),
where u(x, t) = (u1 (x, t), u2 (x, t)) and
h(u1 , u2 ) = (g(u1 ) − bu2 , cu1 − du2 )
is the local map. The function g introduces a cubic non-linearity
g(u1 ) = −au1 (u1 − θ)(u1 − 1).
We shall discuss traveling wave solutions of the FitzHugh-Nagumo equation.
These are solutions of the form
ϕ(ξ) = ϕ(x − ct) = (ϕ1 (x − ct), ϕ2 (x − ct)),
where c > 0 is the velocity of the wave. The function ϕ(ξ) satisfies the
traveling wave equation





ϕ (ξ) + cϕ (ξ) + h(ϕ(ξ)) = 0.


Setting ϕ = v we obtain



ϕ =v



v = −cv − h(ϕ)
By changing the function h(ϕ) outside a ball B(0, R) of some large radius R,



one can obtain that (ϕ , v )·(ϕ, v) < 0. This modification of the original sys-
tem guarantees that no solutions escape to infinity which is thus a repelling
fixed point. This allows us to consider the equation (and the corresponding
flow) on the two-dimensional sphere.
 LECTURES ON PARTIAL HYPERBOLICITY AND STABLE ERGODICITY 7

everywhere dense). The map T is called topologically mixing if for any two
open sets U and V there exists N such that T n (U ) ∩ V = ∅ for each n ≥ N .
For an Anosov diffeomorphism f of a compact connected manifold the
following statements are equivalent:
1. all points in M are non-wandering;
2. f is topologically transitive;
3. f is topologically mixing;
4. each stable leaf W s (x) and each unstable leaf W u (x) is dense.
It is an open problem whether every Anosov diffeomorphism has these prop-
erties although in all known examples this is the case.
4. Ergodicity. A measure-preserving transformation T of a Lebesgue
space (X, ν) is called ergodic if any measurable invariant subset A ⊂ X has
measure either zero or one; equivalently, any measurable invariant (mod 0)
function is constant (mod 0).
Assume that an Anosov diffeomorphism f preserves a smooth measure ν
on M (i.e., a measure which is equivalent to the Riemannian volume). If the
manifold is connected then f is ergodic. If f is topologically mixing then it
is isometric (in the measure-theoretical sense) to a Bernoulli automorphism.
5. Stability and structural stability. Any sufficiently small perturbation
g of an Anosov diffeomorphism f (in the C 1 topology) is again an Anosov
diffeomorphism (this is a particular case of Theorem 3.6 below). Moreover,
the map g is topologically conjugate to f via a homeomorphism h : M → M ,
i.e., f ◦ h = h ◦ g and h is C 0 close to the identity map (see Theorem 4.11).
It follows that any sufficiently small perturbation of a linear hyperbolic
automorphism of the torus is an Anosov diffeomorphism.
We describe an example of an Anosov map of algebraic origin for which
the phase space is not a torus. We follow [29] (see Section 17.3).
Let G be a simply connected Lie group and Γ a (uniform) lattice, i.e., a
discrete subgroup such that the factor Γ\G is compact. For some nilpotent
Lie groups Γ one can show that there exists an automorphism F : G → G
preserving Γ, i.e., F (Γ) = Γ, and such that dF | Id is hyperbolic. Note that
F projects to Γ\G. One can show that there is an invariant splitting of the
Lie algebra
L(G) = TId G = E s ⊕ E u
and a norm on L(G) with respect to which dF |E s and dF −1 |E u are both
contractions. Applying the differential of the left translation x → gx one can
“spread out” the invariant splitting at Id to obtain an invariant hyperbolic
splitting for F . By construction, this splitting and the norm are invariant
under left translations, so they induce a splitting and a norm on the compact
8 YA. PESIN

nilmanifold Γ\G. The factor f : Γ\G → Γ\G is an Anosov map (see also
Section 6.1).
6. Anosov flows. We extend the notion of complete hyperbolicity to
dynamical systems with continuous time.
Let ϕt : M → M be a C 2 flow on a compact smooth Riemannian manifold.
It is generated by the vector field
d
X(t) = (ϕt (x))|t=0 .
dt
The flow ϕt is called an Anosov flow if for each x ∈ M there exist a decompo-
sition Tx M = E s (x)⊕E 0 (x)⊕E u (x) and constants c > 0 and 0 < λ < 1 < µ
such that for each x ∈ M ,
1. E 0 (x) is the one-dimensional subspace generated by the vector field
X(t);
2. dx ϕt E s (x) = E s (ϕt (x)) and dx ϕt E u (x) = E u (ϕt (x));
3. dx ϕt v ≤ cλt v whenever v ∈ E s (x) and t ≥ 0;
4. dx ϕ−t v ≤ cµ−t v whenever v ∈ E u (x) and t ≥ 0.
A simple example of an Anosov flow is a suspension flow over an Anosov
diffeomorphism. Let f be an Anosov diffeomorphism of a compact Riemann-
ian manifold M and H a smooth function on M called the roof function.
Consider the direct product M × [0, ∞) and define the flow Tt in the follow-
ing way. Starting with a point (x, 0), set Tt (x, 0) = (x, t) if t < H(x) and
TH(x) (x, 0) = (f (x), 0) (see Figure 2). The phase space M = M × [0, 1]/∼ for
the suspension flow is diffeomorphic to the direct product M × [0, 1], where
the sections M × 0 and M × 1 are identified by the action of f .

H(x)

f (x)

Figure 2. A suspension flow.

Note that if the roof function H(x) = 1 for all x ∈ M , the time-1 map
T1 is not topologically transitive, since each t-level of M gets mapped into
 LECTURES ON PARTIAL HYPERBOLICITY AND STABLE ERGODICITY 9

itself. Furthermore, assume that f preserves an ergodic measure ν on M .

Then the map T1 preserves the product measure on M, but it is not ergodic.
Due to ergodicity of f the ergodic components of T1 are precisely the t-level
sets.
Another example of an Anosov flow is the geodesic flow on a compact
Riemannian manifolds of negative curvature. Let V be a closed oriented
manifold of negative sectional curvature and M = SV the unit tangent
bundle of V . Given x ∈ V and v ∈ Sx V denote by γ(x,v) (t) the geodesic
passing through x in the direction of v. The geodesic flow gt is a flow on
M defined by gt (x, v) = (y, w) where y = γ(x,v) (t) and w = γ̇(x,v) (t) (see
Figure 3). The celebrated theorem of Anosov [1] claims that the flow gt is
an Anosov flow.

t y = γ(t)
v w

γ
x

Figure 3. The geodesic flow.

To explain this result assume that the manifold V has constant nega-
tive curvature. Consider the Poincaré (ball) model for the universal cover
V = Hn (n-dimensional hyperbolic space) of V . Given (x, v) ∈ M  = S V , the
geodesic γ(x,v) (t) determines two points, γ(−∞) and γ(+∞), on the ideal
boundary of Hn (that is, the unit sphere). The two points x and γ(+∞) de-
termine the unique horosphere H s (x, v) that can be characterized as follows:
for any y ∈ H s (x, v) there is a unique geodesic γ passing through y and as-
ymptotic to γ(x,v) (t) (i.e., the distance ρ(γ(t), γ(x,v) (t)) is bounded; one can
show that, indeed, this distance decreases to zero with an exponential rate).
The framing of H s (x, v) by the orthonormal vectors directed towards γ(+∞)
is the global stable manifold W s (x, v) passing through (x, v). Similarly, the
two points x and γ(−∞) determine the unique horosphere H u (x, v) and its
framing by the orthonormal vectors directed outward γ(−∞) is the global
unstable manifold W u (x, v) passing through (x, v) (see Figure 4).

2.2. Definition of partial hyperbolicity. A diffeomorphism f is called par-

tially hyperbolic [13] if there exist numbers 0 < λ < µ, c > 0, and subspaces
E(x) and F (x), x ∈ M , such that
10 YA. PESIN

γ(−∞)

H u (x, v)
x

H s (x, v)

γ(+∞)

Figure 4. Stable and unstable horospheres for the geodesic flow.

1. E(x) and F (x) form an invariant splitting of the tangent space, i.e.,

Tx M =E(x) ⊕ F (x),
(2.1)
dx f E(x) = E(f (x)), dx f F (x) = F (f (x));

2. for n > 0,

dx f n v ≤ cλn v, v ∈ E(x),

dx f n v ≥ c−1 µn v, v ∈ F (x).

If λ < 1 the subspace E(x) is stable and it will be denoted by E s (x). If

µ > 1 the subspace F (x) is unstable and we will use the notation E u (x).
Clearly, either λ < 1 and/or µ > 1 and without loss of generality in what
follows we assume the former.
The second condition characterizes the subspaces E(x) and F (x) in a
unique way and they depend continuously in x; in particular, the angle
between them is uniformly bounded away from zero.
Other documents randomly have
different content
 They'll reach the coast off there or reach the ice,
And then they'll have to turn or jump on off.
And they won't jump off. It's too fine a land.
Men throw away the hoofs but not the haunch.
I sometimes see them in the dead of night
Crawling like ants along her big broad back,
With axe and pick and plow, building their hills
And pushing on and on. It's a great land.
And bread tastes good that's eaten in her air.
And there's enough for all here——
Harry Egerton.

Yes, ah, yes!

Harvey Anderson.

If we could just turn something upside down.

I don't know what you've heard along the waste,
But when you think it's time to ring a change,
And when you draft your men and call the roll,
Write Harvey Anderson up near the top.
And here's my hand, pard. You can count on me.

Harry Egerton.

We'll meet again.

Harvey Anderson.

Hope so. I like your face,

And like the way you talk. Good-night.

Harry Egerton.

Good-night.
 (Harvey Anderson takes up his pack and cast and goes
off through the darkness after the other men. For a
long time Harry Egerton stands looking after him. The
fire has burned low)
Harry Egerton.

Not that, not that! And yet I know 'twill come.

My God! my God! Is there no way, no way?

(Walks left and looks off up the valley)

My father! O my father!

(He breaks out crying and, staggering about, falls first

upon his knees, then face forward upon the ground.
Instantly it becomes pitch dark)

THE DREAM VISION

(During the following, a shaft of light, falling upon Harry
Egerton, shows him lying near the boulder. As he cries
out, he partially rises, his form and face convulsed with
anguish)
First Voice.
(From up the mountain, full of pleasure)

Harry! Harry! Come to the heights!

Second Voice.
(From the valley, full of sorrow)

Harry! Harry! Come to the valley!

Third Voice.
(From far back, full of peace)

Harry! Harry! plunge into the darkness,

The abysses and the waterfalls and silence!

The Three Voices.

(In chorus)

We are Realities! We are Realities!

Voice.
(From above)

One life to live!

First Voice.

Come to me, Harry!

Second and Third Voices.

She will grow old.

Voice.
(From above)

One life to live!

Second Voice.

Come to me, Harry!

First and Third Voices.

You cannot help them; you've no power.

Voice.
(From above)

One life to live!

Third Voice.

Come to me, Harry!

First Voice.
(Gayly)

Fool! fool!

Second Voice.

You cannot die; there is no death.

Voice.
(From above)

Decide!

Harry Egerton.

My God!

Voice.
(From above)

Decide!

Harry Egerton.

My God!
Voice.
(As of a drunkard singing)

If you was in the gutter, Bill,

And I was on the roof——

Voices.

You're going mad! You're going mad!

Harry Egerton.

Mother! mother!

(Presently, about twenty feet up in the rear and on

either side, faint lights begin to appear and faint
sounds of music are heard. Gradually the lights
brighten a little and the sounds of music become more
and more audible until one becomes conscious that on
the left an orchestra is playing and to the right a
piano. One also becomes conscious of a vast and
beautiful hall over the floor of which, as the music
plays, the forms of dancers are gliding. Occasionally
from here and there flashes a sparkle as of diamonds,
and low rippling laughter is heard. In the foreground
for a space of twelve or fifteen feet, cut off from the
main hall by the faintest outlines of an immense arch,
small groups of elderly people stand about watching
the dancers, or saunter right and left into the adjoining
apartments. In these apartments also people are seen
moving about, and there is a hum of voices as of men
and women in conversation. At no time does it become
very light, and all that passes seems to pass in a dim
shadow world.
It is sufficiently light, however, to enable one to discern the
grotesque richness of the hall which, as one sees at a glance, is an
elaborate representation of a pine forest, the boles of the trees
standing out in beautiful irregularity along the walls, the boughs
above in the semi-darkness seeming to disappear in some sort of
cathedral roof. There, all about, singly and in clusters, innumerable
small globes as though the cones were illuminated. Between the
trees, also in relief and life-sized, figures of men at work getting out
timber. Forward right, teams dragging logs, and, on the opposite
wall, a distant view of a river with rafts floating down. Standing on
stumps, huge figures support the arched doorways, of which there is
one in the rear wall right, and one centre in each of the side walls.
Left rear, the grand staircase with the glow of some hidden lamp
shining upon the landing. Here the carved scene upon the wall is
that of an inclined trestle-work, with logs going up apparently into
some mill above. Below, crouched upon the newel-post and the
lower rail, the carved figure of a large mountain lion with a frosted
light in its open mouth. Forward from the arched doorway, left, there
is no wall from about four feet up, and through this open space,
faintly illumined by small hidden lamps, a greenness as of palms and
flowers.
The music ceases and the couples break up. Later, the piano begins
again, and just inside the main hall Gladys Egerton, in low décolleté
and holding her skirts above her ankles, appears dancing ravishingly
to the music of the piano)
First Lady.

Isn't she charming!

Second Lady.

And that's George that's playing.

(Holding her skirts high the girl executes a graceful high

kick and there is a clapping of hands)
Men's Voices.
 Bravo! bravo! Once more like that, my kitten!

Third Lady.

Dear, you may have my Chester!

(Laughter)
Fourth Lady.

You dance superbly.

Gladys Egerton.

I'll take your husband.

(Continues dancing)
Mrs. Egerton.

Why, Gladys Egerton!

A Man's Voice.

Just any time you want him, Gladys.

Gladys Egerton.

All right.

A Man.
(Appearing forward right)

Ladies, the Governor is telling stories.

Out of politeness let's give him a crowd.

(Some of the ladies start right, others begin to move

about)
Fifth Lady.

She'd make a good catch.

Sixth Lady.

Either she or George would.

Third Lady.
(Calling aloud)

Here is another! Now there are thirteen of us.

(Laughter)
Fourth Lady.

There you're on my toes. Marjorie's after George.

Sixth Lady.

Your Marge, my dear——

(Glances in the direction of Mrs. Egerton, then whispers)

Your Marge may have the other.

Fourth Lady.

Thank you, dear Mrs. Casper, we'll have—gander.

(Laughter. They go out right)

Seventh Lady.

To have a son like that!

Eighth Lady.
 Yes, what a pity.

Ninth Lady.

He hasn't anything like the grace of George.

Seventh Lady.

Nor the accomplishments.

Eighth Lady.

Nor the education.

Seventh Lady.

He belongs down in the mill among the men.

Eighth Lady.

One would have thought, though, at the first reception—

If only for his mother's sake.

Seventh Lady.

That's true.

Ninth Lady.

How old she looks to-night.

Gladys Egerton.
(Who has been skipping to the music, whirls in from the
main hall)

Mother is old.

Ninth Lady.
 I did not mean for you to overhear that.

Gladys Egerton.

O that's all right. We always do that way.

(Continues dancing)

If you had on your heart what mother has

You'd look old, too.

Eighth Lady.

What did she mean by that?

Gladys Egerton.

Leave us alone here just a little while.

(The women go out right)

Gladys Egerton.

Mother!

Mrs. Egerton.

Yes, darling.

Gladys Egerton.

Mother, where is Harry?

(Dances)
Mrs. Egerton.

I do not know.
Gladys Egerton.

It's very embarrassing.

People are whispering. Mother, has no word come?

Mrs. Egerton.

Have you asked your father?

Gladys Egerton.

Yes.

(Dances)

Mother, I'm sure

Something has happened to him.

Mrs. Egerton.

Don't, my child,
Don't say that.

Gladys Egerton.
(Mysteriously)

Why?

Mrs. Egerton.

Go, child; people are watching us.

Gladys Egerton.

I know why! I know why!

(Dances)
 Let go! let go!

Mrs. Egerton.

And please tell Donald that I'm waiting for him.

Gladys Egerton.

You're going after flowers, mother; I know.

Mrs. Egerton.

Flowers, my child? What for?

Gladys Egerton.

For Harry's grave.

Mrs. Egerton.

Why Gladys, Gladys Egerton!

Gladys Egerton.
(Whirling back into the main hall)

I know.

(She disappears into the conservatory, left. Alone, Mrs.

Egerton stands a pathetic figure. She walks back into
the deserted hall and stops and listens as though to
the upper part of the walls. She then turns slowly and
comes forward again. George Egerton enters quickly
from the conservatory)
George Egerton.

Mother!
Mrs. Egerton.

Yes, George.

George Egerton.

This is disgraceful, mother.

Mrs. Egerton.

I cannot help it, George.

George Egerton.

Where did he go?

Mrs. Egerton.

I've told you, George. Now please don't bother me.

George Egerton.

People are whispering.

Mrs. Egerton.

But what can I do?

George Egerton.

Call to them that he's up in bed with fever,

Or say that he was brought home from the river drowned.

Mrs. Egerton.
(Calling aloud)

It's none of your business, people! Harry's my son.

 (She comes forward)
George Egerton.

That wasn't what I said. You are just like him.

(He turns back and re-enters the conservatory. Mrs.

Egerton passes into the room forward right. The lights
in the hall become dimmer)
Voices.
(From the walls)

Sam! Sam! Sam!

(There is a silence, then a sigh as of innumerable voices,

then a silence and another sigh and still another)
Harry Egerton.

My father! O my father!

(From the conservatory comes a sound of laughter, and

a beautiful girl runs in. A moment later the bloom of a
large white chrysanthemum is thrown in after her. A
young man enters. Other couples come in. George
Egerton, evidently master of ceremonies, moves about
here and there. A tuning of instruments is heard.
People come from the side rooms. When all is in
readiness, while the dancers, who have taken their
positions, stand waiting for the music to begin, the
sighing is again heard)
George Egerton.
(Exasperated by the delay)

What's the matter there, Melazzini?

 (Excusing himself to his partner, he goes toward the
conservatory, where the orchestra is stationed. As the
sigh is repeated the couples gather together. At the
third sigh they scatter, some of them running out
through the middle door right, others hurrying
forward, one or two of the girls laughing hysterically)
George Egerton.

It's just the wind that's blowing through somewhere.

(The people disappear into the apartment right. Charles,

the butler, and two maids, badly frightened, come in
rear)
George Egerton.

Close that door, Charles.

Charles.

There's no door open, sir.

(The four come forward, the butler and maids briskly,

George Egerton more slowly and with a sort of
defiance. They, too, pass out right)
Voices.
(From the walls)

Sam! Sam! Sam!

(The sighs are repeated)

Harry Egerton.

My father! O my father!
 (The mountain lion upon the newel-post spits the light
from his mouth and it breaks upon the floor. The
monster then gets down)
Lion.

Chris!

A Voice.

Yes.

Lion.

Mike!

A Voice.

Here.

Lion.

Wes Dicey!

A Voice.

Sure.

Harry Egerton.
(As though a roll were being called)

Harvey Anderson!

Lion.

Whose voice was that?

A Voice.
 Who's Harvey Anderson?

Second Voice.

There's some spy here.

Lion.

Come down, comrades!

Voices.
(Above)

We're fast! we're fast!

Nails in our hands and feet!

Third Voice.

Who's that?

Voices.
(Below)

They've danced upon my face! And mine!

And mine! And mine! And mine! And mine!

A Voice.

I've been a door-jamb years and years!

Voices.
(From round the walls)

We've held these arches up for ages!

Voices.
 (From far below)

We're the foundations! Help us, comrades!

Down on the rock here—deeper! deeper!

Voices.

Help us, Sam Williams! Help us, Sam Williams!

Lion.

Come down, comrades!

Voices.
(From far away)

We're the windows!

They made us sand, then made us shine!
We've touched their faces and their hair!

Voices.
(From up the stairs)

We're coming, and there's thousands of us!

Voices.
(Far up)

We're holding up the roof!

Lion.

Come down!
You've held her up too long already!

(There has been a pounding of hammers and a creaking

as of timbers being loosened. Sighs and groans fill the
 hall. The lights burn unsteadily, flashing or going out
or glowing with a tint of blue)
Voices.

Help us, Sam Williams! Help us! Help us!

Other Voices.

Let 'em alone! They're scabs! They're scabs!

(Carven figures, still rigid, come from the walls. From

everywhere they come, in the most fantastic postures,
some hopping with one leg lifted, some gliding with
raised axes, others bent and in pairs carrying cross-cut
saws, still others with peavies in their hands. Up
through the floor all round come dark figures with
torches in their caps. Stealthily and with muffled voices
they gather about the Lion. Suddenly the pounding
ceases and all is still)
A Voice.

He's coming, and the Powers are with him!

Second Voice.

Justice is all we want!

Several Voices.

Right! Right!

Lion.

Are we one, comrades?

All.
 We're one! We're one!

A Voice.

Ask him to release us, Sam!

(Donald Egerton, with Governor Braddock and Bishop

Hardbrooke at his heels, comes hurriedly through the
centre door right)
Donald Egerton.
(Peering about, sees the Figures)

What does this mean? Back to the walls!

Lion.

We are the walls!

Figures.

We are the walls!

Donald Egerton.

I made you what you are!

Lion.

That's true!
And we made you!

Figures.

And we made you!

Lion.
 We made each other!
You are our father and we your mother!

Figures.

That's true! That's true!

Lion.

And now make us as we made you!

Governor Braddock.

Be careful, Colonel Egerton.

See that one there with axe uplifted!

Donald Egerton.

Braddock, as a citizen of this commonwealth

I call upon you to enforce the laws!

Governor Braddock.

My friends and fellow citizens.

This is unwise, this course you are pursuing,
And cannot in the end but injure you.
The laws were made for these disputes,
And you like others must obey.

Lion.

He made the laws!

Figures.

He made the laws!

Donald Egerton.
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