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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/3768-h.zip b/3768-h.zip Binary files differnew file mode 100644 index 0000000..67a50b7 --- /dev/null +++ b/3768-h.zip diff --git a/3768-h/3768-h.htm b/3768-h/3768-h.htm new file mode 100644 index 0000000..d4da2f4 --- /dev/null +++ b/3768-h/3768-h.htm @@ -0,0 +1,3604 @@ +<?xml version="1.0" encoding="us-ascii"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + The Lamp and the Bell, by Edna St. Vincent Millay + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +Project Gutenberg's The Lamp and the Bell, by Edna St. Vincent Millay + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Lamp and the Bell + +Author: Edna St. Vincent Millay + +Release Date: January 7, 2010 [EBook #3768] +Last Updated: February 6, 2013 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE LAMP AND THE BELL *** + + + + +Produced by David Starner, David Widger and the Distributed Proofreaders Team + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + THE LAMP AND THE BELL + </h1> + <h1> + A Drama In Five Acts + </h1> + <p> + <br /> + </p> + <h2> + By Edna St. Vincent Millay + </h2> + <p> + <br /> + </p> + <h5> + Written on the occasion of the Fiftieth Anniversary of the<br /> Founding + of the Vassar College Alumnae Association <br /> <br /> Dedicated to '1917' + </h5> + <p> + <br /><br /> + </p> +<pre xml:space="preserve"> +<span style="font-family: Courier New; font-size:10pt"> + + Lorenzo, King of Fiori Julia Lovejoy Cuniberti '11 + Mario, King of Lagoverde Valerie Knapp '20 + Guido, Duke of Versilia, + Illegitimate nephew to Lorenzo Louisa Brook Jones '07 + + Giovanni Katherine Jones '20 + Luigi Muriel Izard '17 + Anselmo Lucia Cole Waram '01 + Raffaele Eleanor Kissan '20 + Gentlemen at the court of Lorenzo + + Fidelio Geneva Harrison '20 + Jester at the court of Lorenzo + + Giuseppe Eleanor Fatman Morgenthau '13 + Agent for the Duke's estates + + Cesco Gertrude Taylow Watkins '07 + Horatio Lucille Stimson Harbey '09 + Townsmen of Fiori + + Beppo Marcell Furman Newburg '19 + A little boy, son to Guiliana + + Rigo Ruth Delepenha '17 + Louis Emily Gallagher '21 + Little boys, sons to Leonora + + Clerk Lucy Madeira Wing '96 + + Messenger Esther Saville Davis '06 + + Octavia, Lorenzo's second wife Montgomery Cooper '09 + + Beatrice, "Rose-Red," Clifford Sellers '21 + Daughter to Lorenzo by a former marriage + + Bianca, "Snow-White," Lois Duffie '20 + Daughter to Octavia by a former marriage + + Laura Frances Stout Kellman '17 + Carlotta Kathleen Millay Young ex-'21 + Francesca Dorothy Comstock '19 + Viola Lillian White '18 + Lilina Caroline Goodrich '16 + Lela Sylvia Brockway '20 + Arianna Margaret Hughes '18 + Claudia Janet Lane '18 + Clara Jeanette Baker '18 + Lucia Ellen Hasbrouck '15 + Ladies at the Court of Lorenzo + + Grazia Eleanor Ray Broeniman '99 + Nurse to Beatrice and Bianca + + Giulietta, servant to Bianca Virginia Archibold '17 + "Little Snow-White" Gretchen Tonks + "Little Rose-Red" Joy Macracken '36 + + Leonora Catherine Barr '20 + Giuliana Mabel Hastings Humpstone '94 + Clara Olive Remington '19 + Giovanitta Caroline Curtis Johnson '83 + Anna Frances Haldeman Sidwell '84 + Eugenia Helen Hoy Greeley '99 + Townsmen of Fiori + + Eleanora + A little girl, daughter to Leonora + + Gilda Ruth Benedict '20 + A little girl, sister to Beppo + + Adelina, another little girl Maiserie MacCracken '31 + Nurse Edith Ward + + Pierrot + Harlequin + Pant Aloon + Polichinello + Colombine + Strolling players + + Courtiers, Ladies-in-Waiting, Soldiers, Pages, Musicians, + Towns-people, Children +</span> +</pre> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <table summary="" style="margin-right: auto; margin-left: auto"> + <tr> + <td> + <p class="toc"> + <a href="#link2H_PROL"> PROLOGUE </a> + </p> + <p class="toc"> + <a href="#link2H_4_0002"> ACT I </a> + </p> + <p class="toc"> + <a href="#link2H_4_0003"> ACT II </a> + </p> + <p class="toc"> + <a href="#link2H_4_0004"> ACT III </a> + </p> + <p class="toc"> + <a href="#link2H_4_0005"> ACT IV </a> + </p> + <p class="toc"> + <a href="#link2H_4_0006"> ACT V </a> + </p> + </td> + </tr> + </table> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> <a name="link2H_PROL" id="link2H_PROL"> + <!-- H2 anchor --> </a> + </p> + <h2> + PROLOGUE + </h2> +<pre xml:space="preserve"> + [Anselmo and Luigi] + + ANSELMO. What think you,—lies there any truth in the tale + The King will wed again? + + LUIGI. Why not, Anselmo? + A king is no less lonely than a collier + When his wife dies, And his young daughter there, + For all her being a princess, is no less + A motherless child, and cries herself to sleep + Night after night, as noisily as any, + You may be sure. + + ANSELMO. A motherless child loves not, + They say, the second mother. Though the King + May find him comfort in another face,— + As it is well he should—the child, I fancy, + Is not so lonely as she is distraught + With grief for the dead Queen, and will not lightly + Be parted from her tears. + + LUIGI. If tales be true, + The woman hath a daughter, near the age + Of his, will be a playmate for the Princess. + + CURTAIN +</pre> + <p> + <a name="link2H_4_0002" id="link2H_4_0002"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT I + </h2> +<pre xml:space="preserve"> + Scene 1 + + [Scene: A garden of the palace at Fiori; four years later.] + + [Discovered seated Laura, Francesca and Fidelio, Laura embroidering, + Fidelio strumming his flute, Francesca lost in thought.] + + LAURA. You,—Fool! If there be two chords to your lute, + Give us the other for a time! + + FRANCESCA. And yet, Laura, + I somewhat fancied that soft sound he made. + 'Twas all on the same tone,—but 'twas a sweet tone. + + LAURA. 'Tis like you. As for myself, let music change + From time to time, or have done altogether. + Sing us the song, Fidelio, that you made + Last night,—a song of flowers, and fair skies, + And nightingales, and love. + + FIDELIO. I know the song. + It is a song of winter. + + LAURA. How is that? + + FIDELIO. Because it is a song of summer set + To a sad tune. + + FRANCESCA. [Sadly] Ah, well,—so that it be not + A song of autumn, I can bear to hear it. + + LAURA. In any case, music. I am in a mood for music. + I am in a mood where if something be not done + To startle me, I shall confess my sins. + + [Enter Carlotta.] + + CARLOTTA. Ha! I will have that woman yet by the hair! + + LAURA. What woman, pray, Carlotta? + + CAR. Ho! What woman! + Who but that scullery-wench, that onion-monger, + That slatternly, pale bakress, that foul witch, + The coroneted Fish-Wife of Fiori, + Her Majesty, the Queen! + + FRA. Hush—hush—Carlotta! + You could be put to death for less than that! + + CAR. Not I, my duck. When I am put to death + 'Twill be for more! Oh, I will have her yet + By the hair! [For the first time noticing Fidelio.] + Fidelio, if you breathe one word + Of this, I will scratch the Princess into ribbons, + Whom you love better than your wit. + + FID. I' faith, + I did but hear you say you are a fish-wife, + And all the world knows that. + + LAU. Fear not, Carlotta, + He is as dumb as a prophet. Every second word + He utters, eats the one before it. Speak, + But softly. + + CAR. Nay,'tis nothing.—Nay, by my head, + It is a townful! 'Tis the way she has + Of saying "that should be done like this, and this + Like that!" The woman stirs me to that point + I feel like a carrot in a stew,—I boil so + I bump the kettle on all sides! + + LAU. My dear, + Were you as plump as I you would not dare + Become so angry. It would make your stays creak. + + CAR. Well, I am done. Fidelio, play me a dirge + To put me in good spirits. Merry music + Is sure to make me sad. + + [Fidelio plays. Pause.] + + CAR. 'Tis curious + A woman like her should have a child like that— + So gentle and so pretty-mannered. Faith,— + + FID. Hush! Hush! Here come the prettiest pair of birds + That ever sat together on a bough so close + You could not see the sky between. How now, + Snow-White and Rose-Red! Are you reconciled + One to another? + + [Enter Beatrice and Bianca, with their arms about one another.] + + BIA. Reconciled, Fidelio? + We had not quarrelled! [Laughter from Fidelio and the ladies.] + + BEA. Do not listen to him, + Bianca, 'tis but the jingling of his bells. + + FIDELIO. Do you make a better jest than that + At once, or have the clappers cut from them. + + FID. Alas, alas,—all the good jests are made. + I made them yesterday. + + CAR. If that be true, + You would best become a wise man for a time, + My friend,—there are plenty of wise words not yet said! + + FID. I shall say them all tomorrow. + + LAU. If you do, + You will be stoned to death. + + FID. Not I. No one + Will hear me.—Well, I am off.—I know an old man + Who does not know the road runs past his house; + And yet his bees make honey. [Exit Fidelio.] + + CAR. [Looking after him.] 'Tis the one wise fool + We have among us. + + [Enter Grazia.] + + GRA. Oh, here you are, my ducklings! + Always together, like a beggar and a flea! + I looked for you at lunch-time; I forget now + What for; but then 'twas a matter of more weight + Than laying siege to a city,—la, how time + Does carry one on! An hour is like an ocean, + The way it separates you from yourself!— + [To Bianca and Beatrice.] What do you find to talk about all day? + + BEA. We do not talk all day. + + CAR. Nay, tis you, Grazia, + That talk all day. + + BEA. We ride, and play at tennis, + And row on the lake— + + GRA. I know who does the rowing! + + BEA. Nay, not by any means! Bianca rows + Nearly as well as I. + + CAR. And do you ride + Nearly as well as she, Bianca? [All smile.] + + BIA. [Ruefully.] Nay. + + GRA. 'Tis an unkind question. There be few in Fiori + Might answer, "Aye." Her Highness rides like a centaur. + + BIA. I'd never dare to mount the horse she rides. + + BEA. What, Harlequin?—La, he's gentle as a kitten! + Though he's a little young, 'tis true, not settled yet + In his mind. + + LAU. As to his mind, 'twere a small matter, + Were he a bit more settled in his legs! + + BIA. I'm afraid of horses, anyway, they are so much + Bigger than I am. + + BEA. Oh, Bianca, horses + Are just like people! Are you afraid of father?— + He is bigger than you. + + BIA. Nay. But I'd never dare + Prod him which way to go! + + BEA. Oh, la, I would! + Father, this ditch! This four-foot wall now, father! + And swim the brook beyond! + + FRA. And is there naught + In which Bianca carries off the trophies? + + BEA. [Ruefully.] Ay, there is tennis. + + LAU. She wins from you at tennis? + + BEA. She flays me, Laura. She drags me at her racket + Nine times around the court! + + CAR. Why, how is that?— + She is not quicker. + + BEA. Nay, but she grows cool + Whilst I grow hot, Carlotta, and freezes me + Ere I can melt her! + + FRA. Is it true, Bianca? + + BIA. 'Tis true I win from her.—Although not always. + + GRA. What did I come here for?—I must go back + To where I started, and think of it again! [Exit Grazia.] + + CAR. [Calling after her.] + Are you sure that you remember where you started? + —The woman hath a head like a sieve. + + LAU. And yet, + You may be sure 'tis nothing more than the thimble + Of the matter she's forgotten. I never knew her + Mislay the thread or the needle of a thing. + + BIA. We must study now, Beatrice, we really must. + We have not opened a book since yesterday. + + LAU. La, as for me, I have not opened a book + Since yesteryear,—I'd rather open a vein! + + CAR. Lessons,—troth, I remember well those lessons. + As for what I learned,—troth, that's a different matter, + + FRA. 'Tis curious; the things that one remembers + Are foolish things. One does not know at all + Why one remembers them. There was a blackbird + With a broken foot somebody found and tamed + And named Euripides!—I can see it now. + + CAR. Some of the silly rhymes we used to write + In the margins of our books, I still remember! + + LAU. And eating sweets behind the covers of them! + + FRA. And faces—faces—faces—and a little game + We used to play, all marching in a row + And singing!—I wish I were a child again. + + BEA. You are not old, Francesca. You are very young. + And very beautiful! + + FRA. I have been beautiful + Too many years to be so very young. + + CAR. How now, Francesca! Would you have it said + You are enamoured of some beardless youth, + That so you see the wrinkles suddenly? + Have done! Have done! + + BIA. Where shall we study, Bice? + + BEA. Indoors. I cannot study out of doors. + + [Exeunt Beatrice and Bianca.] + + LAU. I vow I never knew a pair of lovers + More constant than those two. + + CAR. A pair of lovers? + Marry, I find your figure lacking force! + Since when were lovers true? + + FRA. Oh, peace, Carlotta! + You bear too sharp a weapon against the world,— + A split tongue full of poison, in a head + That darts at every heel!—I'm going in. [Exit Francesca.] + + LAU. You should not say such things when she is with us, Carlotto. + + CAR. Is the woman in love? + + LAU. In love! + She is so far gone she does not know which way + To sail,—all shores are equally out of sight. + + [Exeunt Laura and Carlotta.] + + [Music off stage. Enter Fidelio, singing.] + + FID. "What was I doing when the moon stood above? + What did I do? What did I do? + I lied to a lady that had given me her love,— + I swore to be true! I swore to be true!" + + [He picks up from the grass a white scarf which Beatrice was + wearing, and which slipped from her shoulders unnoticed as she + went out.] + + FID. My mistress! + + [He thrusts the scarf under his cloak and continues his song, + just as Guido enters from another direction.] + + FID. "And what was I doing when the sun stood above? + What did I do? What did I do?—" + + GUI. By my sacred word, Fidelio, I do not like your song. + + FID. Faith, and small wonder!—It is a song that sets the evil eye + To staring in upon itself. + + GUI. [Stopping in his walk.] What mean you by that, my throaty friend? + + FID. I mean to say + That, taking it all in all and by and large, + You do not care for music. + + GUI. I do not care + For yours, but it is possible Apollo + Had a better tenor. I never heard him sing. + + FID. Nay, and how could you?—He died when you were born! + + GUI. He died, that is, in giving birth to me? + + FID. Aye, if you like,—you bear as much resemblance + To him as to your mother's husband, surely. + + GUI. Take care, Fidelio! + + FID. [Lightly] So! Then it angers you + Apollo should be deemed your sire! I told you + [Sadly.] You did not care for music! + + GUI. You are a sly fool, + My merry friend. What hide you under the cloak? + + FID. Why, 'tis a little patch of snow the sun + Would lay too hot a hand on. + + GUI. By my life,— + And what are you that you can keep the sun + From shining where it will? + + FID. Why, by your life,— + And a foul oath it is!—why, by your life, + I am a cloud,—that is an easy riddle. +</pre> +<pre xml:space="preserve"> + Scene 2 + + [Scene: A garden with a fountain, at Fiori. Beatrice + and Bianca sitting side by side on a low step. Evening.] + + BEA. How beautiful it is to sit like this, + Snow-White,—to think of much, and to say little. + + BIA. Ay, it is beautiful. I shall remember + All my life long these evenings that we spent + Sitting just here, thinking together. [Pause.] Rose-Red, + It is four years today since first we met. + Did you know that? + + BEA. Nay, is it? + + BIA. Four years today. + I liked you from the moment that I saw you, + Beatrice! + + BEA. I you, Bianca. From the very moment! + I thought you were the prettiest little girl + That I had ever seen. + + BIA. I was afraid + Of you, a little, at first,—you were a Princess, + You see. But you explained that being a Princess + Was much the same as anything else. 'Twas nice, + You said, when people were nice, and when they were not nice + 'Twas hateful, just the same as everything else. + And then I saw your dolls, and they had noses + All scratched, and wigs all matted, just like mine, + Which reassured me even more!—I still, though, + Think of you as a Princess; the way you do things + Is much more wonderful than the way I do them!— + The way you speak to the servants, even the way + You pick up something that you drop. + + BEA. You goose! + 'Tis not because I'm a princess you feel that way— + I've always thought the same thing about you!— + The way you draw your gloves on is to me + More marvelous than the way the sun comes up! + + [They both burst out laughing.] + + BEA. Oh, lud,—how droll we are! + + BIA. Oh, I shall die + Of laughing! Think you anyone else, Rose-Red, + Was ever half so silly? + + BEA. I dare wager + There be a thousand, in this realm alone, + Some even sillier! + + BIA. Here comes Fidelio! [Enter Fidelio.] + + BEA. Fidelio, sing to us,—there is no nightingale + Abroad tonight, save you. And the night cries + For music! + + BIA. Sing, Fidelio! + + FID. I have no thorn + To lean my breast on. I've been happy all day, + And happiness ever made a crow of me. + + BEA. Sing, none the less,—unless you have a cold, + Which is a singer's only rock of refuge. + You have no cold, or you would not be happy. + So sing. + + FID. [Singing.] "Oh, little rose-tree, bloom! + Summer is nearly over. + The dahlias bleed and the phlox is seed, + Nothing's left of the clover, + And the path of the poppy no one knows,— + I would blossom if I were a rose! + + Summer for all your guile + Will brown in a week to autumn, + And launched leaves throw a shadow below + Over the brook's clear bottom, + And the chariest bud the year can boast + Be brought to bloom by the chastening frost! + Oh, little rose-tree, bloom!" + + [As he finishes the song Fidelio goes out, softly strumming + the last chords. Bianca and Beatrice did sit quite + still for a moment.] + + BIA. Do you know what I am thinking, Bice? + + BEA. You're wondering where we'll be ten years from now, + Or something of that nature. + + BIA. Ay, I was wondering + Which would be married first, and go away, + And would we still be friends. + + BEA. Oh, do you doubt it, + Snow-White? + + BIA. Nay, nay,—I doubt it not, my dear,— + But I was wondering. I am suddenly sad, + I know not why. I do not wish to leave you + Ever. + + BEA. I know. I cannot bear + To think of parting. We have been happy these four years + Together, have we not? + + BIA. Oh, Beatrice! [She weeps.] + + BEA. Nay, do not weep!—Come, you must go to bed. + You are tired tonight. We rode too far today. + + [She draws Bianca's head down to her shoulder.] + + Oh, you are tired, tired, you are very tired. + You must be rocked to sleep, and tucked in bed, + And have your eyelids kissed to make you dream + Of fairies! Come, dear, come. + + BIA. Oh, I do love you, + Rose-Red! You are so sweet! Oh, I do love you + So much!—so much! I never loved anyone + The way that I love you! There is nobody + In all the world so wonderful as you! + + [She throws her arms about Beatrice and clings to her.] +</pre> +<pre xml:space="preserve"> + Scene 3 + + [A room in the palace at Fiori. Lorenzo and Beatrice playing + chess. Twilight.] + + LOR. You'll not be able to get out of that, + I think, my girl, with both your castles gone. + + BEA. Be not so sure!—I have a horse still, father, + And in a strong position: if I move him here, + You lose your bishop; and if you take my bishop, + You lose your queen. + + LOR. True, but with my two rooks + Set here, where I can push them back and forth, + My king is safe till worms come in and eat him. + + BEA. What say you then to this?—Will you take this pawn, + Or will you not? + + LOR. [Studying the board.] Od's bones!—where did that come from? + + [Enter Octavia.] + + OCT. La, would you lose your eyesight, both of you?— + Fumbling about those chessmen in the dark? + You, Beatrice, at least, should have more wit! + + LOR. "At least"—hm!—Did you hear her say, "at least," + Bice, my daughter? + + BEA. Ay. But it is true + The twilight comes before one knows it. + + LOR. Ay. + 'Tis true, but unimportant. Nevertheless, + I am a tractable old fellow.—Look you, + I will but stay to map the lay of the pieces + Upon this bit of letter. 'Tis from a king + Who could not tell the bishop from the board,— + And yet went blind at forty.—A little chess + By twilight, mark you, and all might have been well. + + [Enter Bianca.] + + BIA. Oh,—I've been looking everywhere for you? + + OCT. [Drily.] For me? + + BIA. Nay, mother,—for Beatrice. Bice, + The rose is out at last upon that bush + That never blossomed before,—and it is white + As linen, just as I said 'twould be! + + BEA. Why, the bud + Was redder than a radish! + + BIA. Ay, I know. + But the blossom's white, pure white. Come out and see! + [Politely.] Would you like to see it, mother? + + OCT. Nay, not now, child. + Some other time. + + BEA. Father, we'll end the game + Tomorrow; and do you not be scheming at it + All night! + + LOR. Nay, I will not unfold the chart. + + BEA. But you remember well enough without; + Promise me not to think of it. + + LOR. I' faith, + You are a desperate woman. Ay, I promise. + + [Exeunt Bianca and Beatrice. Octavia seats herself. Pause.] + + OCT. I tell you, as I've told you often before, + Lorenzo, 'tis not good for two young girls + To be so much together! + + LOR. As you say, + Octavia. For myself, I must confess + It seems a natural thing, enough, that youth + Should seek out youth. And if they are better pleased + Talking together than listening to us, + I find it not unnatural. What have we + To say to children?—They are as different + From older folk as fairies are from them. + + OCT. "Talking together," Lorenzo! What have they + To talk about, save things they might much better + Leave undiscussed?—you know what I mean,—lovers, + And marriage, and all that—if that is all! + One never knows—it is impossible + To hear what they are saying; they either speak + In whispers, or burst out in fits of laughter + At some incredible nonsense. There is nothing + So silly as young girls at just that age.— + At just Bianca's age, that is to say. + As for the other,—as for Beatrice, + She's older than Bianca, and I'll not have her + Putting ideas into my daughter's head! + + LOR. Fear not, my love. Your daughter's head will doubtless, + In its good time, put up its pretty hair, + Chatter, fall dumb, go moping in the rain, + Be turned by flattery, be bowed with weeping, + Grow grey, and shake with palsy over a staff,— + All this, my love, as empty of ideas + As even the fondest mother's heart could wish. + + OCT. You mock me, sir? + + LOR. I am but musing aloud, + As is my fashion.—And indeed, my dear, + What is the harm in lovers-and-all-that + That virtuous maidens may not pass the time + With pretty tales about them?—After all, + Were it not for the years of looking forward to it + And looking back upon it, love would be + Only the commonest bird-song in the hedge,— + And men would have more time to think,—and less + To think about. + + OCT. That may be. But young girls + Should not be left alone too much together. + They grow too much attached. They grow to feel + They cannot breathe apart. It is unhealthy. + + LOR. It may be true. But as for me, whom youth + Abandoned long ago, I look on youth + As something fresh and sweet, like a young green tree, + Though the wind bend it double.—'Tis you, 'tis I, + 'Tis middle age the fungus settles on. + + OCT. Your head is full of images. You have + No answers. I shall do as I spoke of doing, + And separate them for a little while, + Six months, maybe a year. I shall send Bianca + Away within a fortnight. That will cure them. + I know. I know. Such friendships do not last. + + CURTAIN +</pre> + <p> + <a name="link2H_4_0003" id="link2H_4_0003"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT II + </h2> +<pre xml:space="preserve"> + Scene 1—Four months later. + + [Scene: A garden, near the palace at Fiori. The young Duke + Guido is discovered standing with one foot resting on a + garden-bench, looking off, lost in thought. Enter Giovanni.] + + GIO. That is a merry face you wear, my Guido! + Now that the young King Mario visits the court + And walks all morning in the woods with the Princess, + Or gives her fencing lessons,—upon my word, + You are as gay as a gallows! + + GUI. She is never + Alone with him. Laura—Carlotta—someone + Is always there. + + GIO. Ah—ah—but even so, + No matter who is there, I tell you, lovers + Are always alone! + + GUI. Why do you say these things, + Giovanni? + + GIO. Because I love you, you lean wolf, + And love to watch you snuff the air. My friend, + There was a time I thought it all ambition + With you, a secret itching to be king— + And not so secret, either—an open plot + To marry a girl who will be Queen some morning. + But now at times I wonder. You have a look + As of a man that's nightly gnawed by rats, + The very visage of a man in love. + Is it not so? + + GUI. I do not know, Giovanni. + I know I have a passion in my stomach + So bitter I can taste it on my tongue. + She hates me. And her hatred draws me to her + As the moon draws the tide. + + GIO. You are like a cat— + There never was a woman yet that feared you + And shunned you, but you leapt upon her shoulder! + Well, I'll be off. The prettiest girl in Fiori,— + Unless it be Her Highness, waits for me + By a fountain. All day long she sells blue plums, + And in the evening what she has left of them + She gives to me! You should love simply, Guido, + As I do. [Exit Giovanni.] + + [Guido sits on the bench and drops his head in hand. + Enter Francesca.] + + FRA. [Softly.] Guido! Guido! + + GUI. Who calls me? + + FRA. Guido! + + GUI. Francesca! Why do you follow me here? + You know I do not wish to see you! + + FRA. Do not be angry. + 'Tis half a week since you have spoken to me, + And over a week since you have so much as laid + Your hand upon my arm! And do you think, + Loving you as I do, I can do without you, + Forever, Guido, and make no sign at all? + I know you said you did not wish to see me + Ever again,—but it was only a quarrel— + And we have quarreled before! + + GUI. It was not a quarrel. + I am tired of you, Francesca. You are too soft. + You weep too much. + + FRA. I do not weep the less + For having known you. + + GUI. So;—it will save you tears, then + To know me less. + + FRA. Oh, Guido, how your face + Is changed,—I cannot think those are the eyes + That looked into my eyes a month ago! + What's come between us? + + GUI. Nothing has come between us. + It is the simple snapping of a string + Too often played upon. + + FRA. Ah!—but I know + Who snapped it! It will do you little good + To look at her,—she'll never look at you! + + GUI. Be silent a moment!—Unless you would be silent + Longer! + + FRA. Indeed! I shall speak out my mind! + You go beyond yourself! There is proportion + Even in a nature like my own, that's twisted + From too much clinging to a crooked tree! + And this is sure: if you no longer love me, + You shall no longer strike me! + + MARIO. [Off stage.] Beatrice! + Wait for me! Wait! + + BEA. [Off stage.] Not I! Who does not run? + As fast as I run, shall be left behind me! + + GUI. They are coming here! I do not wish to see them! + + FRA. Oh, Guido! [She follows him off. Exeunt Guido and Francesca.] + + [Enter Beatrice, running, followed by Mario.] + + MAR. Beatrice, you run like a boy! + You whistle like a boy! And upon my word, + You are the only girl I ever played + At jousting with, that did not hold her sword + As if it were a needle! Which of us, + Think you, when we are married, will be King? + + BEA. When we are married! Sir, I'll have you know + There's an ogre to be tamed, a gem to be pried + From out a dragon's forehead, and three riddles + To be solved, each tighter than the last, before + A Princess may be wed! + + MAR. Even by a King? + + BEA. For Kings the rules are sterner!—One more riddle, + And a mirror that will show her always young. + + MAR. And if I do these things, then, will you have me, + Rose-Red? + + BEA. Maybe. And if you do not do them, + Maybe. Come—I will race you to the bridge! + + MAR. [Catching her hand,] Nay, not so fast!—Have you no wish to be + Beside me, ever, that you are forever running + Ahead? + + BEA. Indeed, if you would have the truth + It has come into my mind more times than once + It would be sweet to be beside you often. + + MAR. Rose-Red! + + BEA. Come—I will race you to the bridge! + + [Exeunt Beatrice and Mario.] +</pre> +<pre xml:space="preserve"> + Scene 2 + + [Court-yard of the palace at Fiori. Entire court assembled. + A band of strolling players, with a little stage + on wheels, are doing a Harlequinade pantomime to amuse + the young King Mario, the guest of honor. Beatrice sits + beside him. In this scene the two people who are oblivious + to the pantomime are Guido and Octavia. Guido is + apparently brooding over something. From time to time + he looks at Beatrice and Mario. Once, having gazed for + some moments at the pair, he looks at Octavia and sees + that she, too, is looking at them, which seems to satisfy + him. The Queen does not take her eyes from the two during + the entire scene. Beatrice and Mario do not conduct + themselves precisely as lovers, but they are very gay and + happy to be in each other's company, apparently. Lorenzo + watches the show with a benign, almost childish + interest.] + + [Pantomime begins.] + + GIO. You, Pierrot, are you not a little thick + For such a sorrowful fellow? + + PIERROT. Nay, indeed! + Sorrow may come to all. And 'tis amazing + How much a man may live through and keep fat. + + [Pantomime continues] + + CAR. Ho! Now he stumbles! Look you, Pantaloon, + If you were not so learned i' the head + You might know better where to put your feet! + + LAU. [To Carlotta.] 'Tis curious how it addles a man's bones + To think too much. + + CAR. Nay, truth. Wise men were ever + Awkward in the legs. + + [Pantomime continues.] + + RAFFAELE. Have at him, Polichinello. + + GIO. Lay on! Lay on! + + ANS. Leave not a nail of him! + + GIO. Dog! Would you have him write a book about you? + + LUIG. Spit him i' the liver! It is his only organ! + + BEA. [To Mario.] Nay, it is cruel. I cannot look at it. + + MAR. It is but play. + + BEA. Ay, but 'tis cruel play. + To be so mocked at!—Come, take heart, good Doctor! + 'Tis a noisy fellow, but light withal!—Blow at him! + + GIO. [To Guido.] She has the softest heart that ever + I saw + In a hard woman. It may be, seeing she has pity + For one rogue, she has pity for another! + Mark you, my Guido, there is hope yet! + + GUI. Nay, + There's not. I have opened up my mind to her, + And she will none of me. + + GIO. [Jestingly.] That was the last thing + You should have done!—Speak,—did she give for answer + She loves the King? + + GUI. Not she. She gave for answer + She does not love the Duke. + + [Pantomime continues.] + + ANS. [To Colombine.] Ah, pretty lady! + + CAR. La, she is fickle! How she turns from one face + To another face,—and smiles into them all! + + FRAN. Oh, ay, but' tis the Pierrot that she loves. + + [Pantomime continues and comes to a close.] + + [All applaud.] + + LUIGI. Well done! + + ANS. Bravo! + + GIO. A monstrous lively play! + + BEA. Oh, is it over?—I would it were not over! + + MAR. And yet it pleased you not! + + BEA. When it pleased me not, + I looked at you. + + MAR. And when I pleased you not—? + + BEA. I looked at Harlequin. However, I saw him + But fleetingly. Pray, was he dark or fair? + + LUIGI. Laura! + + LAU. Who calls? La, it is only Luigi! + + LUIGI. Laura, there'll be a moon tonight. + + LAU. I' faith, + There was a moon last night. [She sighs.] + + LUIGI. At ten o'clock, + Were I by a certain gate, would you be there? + What say you? + + LAU. Ay,—if weariness overtook me, + And I could not get further! + + CAR. La, 'tis sun-down! + + [In the meantime the crowd has been breaking up and dispersing. + The curtain falls on the disappearing spectators and on Pierrot + and his troupe packing up their wagon to go to the next town.] +</pre> +<pre xml:space="preserve"> + Scene 3 + + [Fiori. A garden with a fountain. Evening.] + [Enter Octavia and Ladies.] + + OCT. It would amuse me if I had a lily + To carry in my hand. You there, Carlotta! + You have a long arm,—plunge it in the pool + And fish me forth a lily! + + CLAUDIA. Majesty, + They close at night. + + OCT. Well—we will open them. + + CAR. [Going to pool and scanning it.] Go to—I am not a frog! + + OCT. What did you say? + + ARIANNA. She says she sees a frog, Your Majesty. + + FRAN. [Aside to Carlotta.] + You are mad! Can you not keep your tongue in your head? + + CAR. Ay, I can keep it in my cheek.—There's one. + God grant it have an eel at the end of it,— + I'll give the dame good measure. + + [While the ladies are at the pool enter Guido.] + + GUIDO. Greeting, madam! + + OCT. Who greets me?—Ah, it is the Duke. + Good even, Guido. You seek an audience with me? + + GUIDO. Nay—nay—but if you send away your women,— + We shall be more alone. + + OCT. [After considering him a moment.] You may leave me now, + Laura, Francesca—all of you—and you would best go in + At an early hour, instead of walking the gardens + All night; I would have you with your wits + About you in the morning. + + LAU. [Aside.] Oh, indeed? + You would best go in yourself, lest the dew rust you, + You sauce-pan! [Exeunt ladies.] + + OCT. Now, my good sir,—you may speak. + + GUI. [As if by way of conversation.] + It is a long time, is it not, your daughter + Is absent from the court? + + OCT. Why say you that? + + GUI. Why but to pass the time, till she returns? + + OCT. Nay, Guido. That is well enough for some, + But not for me. I know the slant of your fancy; + 'Tis not in that direction. + + GUI. Yet me thinks + The sooner she is back again at court + The happier for us both. + + OCT. "Us both?" What "both?" + + GUI. You Madam, and myself. + + OCT. And why for me? + + GUI. [Carefully.] Why, are you not her mother? + + OCT. Hah! [Pause.] Guido, + What festers in your mind? Do you speak out now, + If you await some aid from me. + + GUI. Madam, + I have but this to say: if I were a woman + With a marriageable daughter, and a King rode by, + I'd have her at the window. + + OCT. So. I thought so. + + [With an entire change of manner.] + + Guido, what think you,—does she love the King,— + I mean Lorenzo's daughter? + + GUI. [Between his teeth.] Ay, she loves him. + + OCT. And loves he her? + + GUI. Oh, ay. He loves the moon, + The wind in the cypress trees, his mother's portrait + At seventeen, himself, his future children— + He loves her well enough. But had she blue eyes + And yellow hair, and were afraid of snakes, + He yet might love her more. + + OCT. You think so, Guido? + I am content to learn you of that mind. + There had occurred to me—some time ago, + In fact—a similar fancy. And already + My daughter is well on her way home. + + [Exeunt Guido and Octavia.] + + [Music, Enter Beatrice and Fidelio. Fidelio strums his lute + softly throughout the next conversation, up to the words + "and cease to mock me."] + + BEA. Fidelio, + Were you ever in love? + + FID. I was never out of it. + + BEA. But truly? + + FID. Well. I was only out of it + What time it takes a man to right himself + And once again lose balance. Ah, indeed, + 'Tis good to be in love, I have often noticed, + The moment I fall out of love, that moment + I catch a cold. + + BEA. Are you in love, then, now? + + FID. Ay, to be sure. + + BEA. Oh! Oh! With whom, Fidelio? + Tell me with whom! + + FID. Why, marry, with yourself,— + That are the nearest to me,—and by the same troth, + The farthest away. + + BEA. Go to, Fidelio! + I am in earnest, and you trifle with me + As if I were a child. + + FID. Are you not a child, then? + + BEA. Not any more. + + FID, How so? + + BEA. I am in love. + + FID. Oh—oh—oh, misery, misery, misery, misery! + + BEA. Why do you say that? + + FID. Say what? + + BEA. "Misery, misery." + + FID. It is a song. + + BEA. A song? + + FID. Ay, 'tis a love-song. + Oh, misery, misery, misery, misery, oh! + + BEA. Nay, sweet Fidelio, be not so unkind! + I tell you, for the first time in my life + I am in love! Do you be mannerly now, + And cease to mock me, + + FID. What would you have me do? + + BEA. I would have you shake your head, and pat my shoulder, + And smile and say, "Godspeed." + + FID. [Doing so very tenderly.] Godspeed. + + BEA. [Bursting into tears.] I do not know if I am happy or sad. + But I am greatly moved. I would Bianca + Were here. I never lacked her near so much + As tonight I do, although I lack her always. + She is a long time gone.—If I tell you something, + Will you promise not to tell. + + FID. Nay, I'll not promise, But I'll not tell. + + BEA. Fidelio, I do love so + The King from Lagoverde! I do so love him! + + FID. Godspeed, Godspeed. + + BEA. Ay, it is passing strange; + Last week I was a child, but now I am not. + And I begin my womanhood with weeping; + I know not why.—La, what a fool I am! + 'Tis over. Sing, Fidelio. + + FID. Would you a gay song, My Princess? + + BEA. Ay.—And yet—nay, not so gay. + A simple song, such as a country-boy + Might sing his country-sweetheart.—Is it the moon + Hath struck me, do you think? I swear by the moon + I am most melancholy soft, and most + Outrageous sentimental! Sing, dear fool. + + FID. [Singing.] + "Butterflies are white and blue + In this field we wander through. + Suffer me to take your hand. + Death comes in a day or two. + All the things we ever knew + Will be ashes in that hour. + Mark the transient butterfly, + How he hangs upon the flower. + Suffer me to take your hand. + Suffer me to cherish you + Till the dawn is in the sky. + Whether I be false or true, + Death comes in a day or two." + + CURTAIN +</pre> + <p> + <a name="link2H_4_0004" id="link2H_4_0004"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT III + </h2> +<pre xml:space="preserve"> + Scene 1—The following summer, + + [A field or meadow near Fiori. As the curtain rises voices are heard + off-stage singing a bridal song.] + + SONG: Strew we flowers on their pathway! + Bride and bride-groom, go you sweetly. + There are roses on your pathway. + Bride and bride-groom, go you sweetly. + Sweetly live together. + + [Enter Viola, Lilina, Lela, Arianna and Claudia, laden with + garlands, flowering boughs and baskets of flowers. They met + Anselmo coming from another direction, also bearing flowers.] + + VIO. How beautiful, Anselmo! Where did you find them? + + ANS. Close by the brook. + + LIL. You gathered all there were? + + ANS. Not by one hundredth part. + + LEL. Nay, is it true? + We must have more of them! + + ARI. And are they fragrant + As well? + + ANS. Ay, by my heart, they are so sweet + I near to fainted climbing the bank with them. + + [The ladies cluster about Anselmo and smell the flowers.] + + LIL. Oh! + + VIO. Ah! + + CLA. How drowsily sweet! + + LEL. Oh, sweet! + + ARI. What fragrance! + + [Enter Laura and Giovanna, followed by Carlotta and Raffaele.] + + LAU. La, by my lung! I am as out of breath + As a babe new-born! Whew! Let me catch the air! + + [She drops her flowers and seats herself beside them.] + + CAR. [to the younger ladies and Anselmo, by way of greeting.] + How hot the sun is getting. + + ANS. 'Tis nigh noon, I think. + + GIO. 'Tis noon. + + CLA. We must be starting back. + + LAU. Not till I get my breath. + + RAF. Come,—I will fan you. [He fans her with a branch,] + + LAU. Tis good—'tis very good—oh, peace—oh, slumber— + Oh, all good things! You are a proper youth. + You are a zephyr. I would have you fan me + Till you fall dead. + + CAR. I tell you when it comes + To gathering flowers, much is to be said + For spreading sheets on the grass,—it gives you less + The backache. + + LAU. Nobly uttered, my sweet bird. + + GIO. Yet brides must have bouquets. + + CAR. And sit at home, + Nursing complexions, whilst I gather them, + + LIL. [Running to Carlotta, along, with Lela and Viola, and throwing her + arms about her.] + Nay, out upon you now, Carlotta! Cease now + To grumble so,—'tis such a pretty day! + + VIO. And weddings mean a ball! + + LEL. And one may dance all night + At weddings! + + LIL. Till one needs must dance to bed, + Because one cannot walk there! + + GIO. And one eats + Such excellent food! + + ANS. And drinks such excellent wine! + + CLA. And seldom will you see a bride and bridegroom + More beautiful and gracious, or whom garlands + Do more become. + + GIO. 'Tis so,—upon my sword!— + Which I neglected to bring with me—'tis so, + Upon Anselmo's sword! + + CAR. Nay, look you, Laura! + You must not fall asleep! [to Raffaele] Have done, you devil! + Is it a poppy that you have there? [to Laura] Look you, + We must be starting back! [Laura rouses, then falls back again.] + + LAU. Ay, that we must. + + ARI. Where are the others? + + ANS. Scattered all about. + I will call to them. Hola! You fauns and dryads! + Where are you? + + VOICES. Here! Here! Is it time to go? + + ANS. Come this way! We are starting back! + + VOICES. We are coming! + We'll come in a moment! I cannot bear to leave + This place! + + GIO. [As they enter] A thousand greetings, Clara! + Lucia, a thousand greetings! How now, Luigi! + I know you, man, despite this soft disguise! + You are no flower-girl! + + LUI. I am a draught-horse, + That's what I am, for four unyielding women! + Were I a flower-girl, I'd sell the lot + For a bit of bread and meat—I am so hungry + I could eat a butterfly! + + CAR. What ho. Francesca! + I have not seen you since the sun came up! + + FRA. This is not I,—I shall not be myself + Till it goes down! + + LEL. Oh, la, what lovely lilies! + + FRA. Be tender with them—I risked my life to get them! + + LIL. Where were they? + + FRA. Troth, I do not know. I think + They were in a dragon's mouth. + + LAU. [Suddenly waking] Well, are we going? [All laugh.] + + LUI. No one is going that cannot go afoot. + I have enough to carry! + + LAU. Nay; take me too! + I am a little thing. What does it matter— + One flower more? + + LUI. You are a thousand flowers, + Sweet Laura,—you are a meadow full of them— + I'll bring a wagon for you. + + CAR. Come. Come home. + + [In the meantime the stage has been filling with girls and men + bearing flowers, a multitude of people, in groups and couples, + humming the song very softly. As Carlotta speaks several more + people take up the song, then finally the whole crowd. They move + off slowly, singing.] + + SONG. "Strew we flowers on their pathway," etc. +</pre> +<pre xml:space="preserve"> + Scene 2 + + [Bianca's boudoir in the palace at Fiori. Bianca with a mirror in + her hand, having her hair done by a maid. Several maids about, + holding perfume-flasks, brushes, and veils, articles of apparel of + one sort or another. Beatrice standing beside her, watching.] + + BIA. Look at me, Rose-Red. Am I pretty enough, + Think you, to marry a King? + + BEA. You are too pretty. + There is no justice in it. Marry a cobbler + And make a king of him. It is unequal,— + Here is one beggarly boy king in his own right, + And king by right of you. + + BIA. Mario is not + A beggarly boy! Nay, tell me truly, Beatrice, + What do you think of him? + + BEA. La, by my soul! + Have I not told you what I think of him + A thousand times? He is graceful enough, I tell you, + And hath a well-shaped head. + + BIA. Nay, is that all? + + BEA. Nay, hands and feet he hath, like any other. + + BIA. Oh, out upon you for a surly baggage! + Why will you tease me so? You do not like him, + I think. + + BEA. Snow-White! Forgive me! La, indeed, + I was but jesting! By my sacred word, + These brides are serious folk. + + BIA. I could not bear + To wed a man that was displeasing to you. + Loving him as I do, I could not choose + But wed him, if he wished it, but 'twould hurt me + To think he did not please you. + + BEA. Let me, then, + Set your sweet heart at rest. You could not find + In Christendom a man would please me more. + + BIA. Then I am happy. + + BEA. Aye, be happy, child. + + BIA. Why do you call me child? + + BEA. Faith, 'tis the season + O' the year when I am older than you. Besides + A bride is always younger than a spinster. + + BIA. A spinster! Do you come here to me, Rose-Red, + Whilst I pinch you smartly! You, Arianna, push me + Her Highness over here, that I may pinch her! + [To Loretta.] Nay, is it finished? Aye, 'tis very well. + Though not so well, Loretta, as many a day + When I was doing nothing!—Nay, my girl, + 'Tis well enough. He will take me as I am + Or leave me as I was.—You may come back + In half an hour, if you are grieved about it, + And do it again. But go now,—all of you. + I wish to be alone. [To Beatrice.] Not you. + + [Exeunt all but Bea. and Bia.] + + Oh, Rose-Red, + I trust 'twill not be long before I see you + As happy as you see me now! + + BEA. Indeed, + I could not well be happier than I am. + You do not know, maybe, how much I love you. + + BIA. Ah, but I do,—I have a measure for it! + + BEA. Ay, for today you have. But not for long. + They say a bride forgets her friends,—she cleaves so + To her new lord. It cannot but be true. + You will be gone from me. There will be much + To drive me from your mind. + + BIA. Shall I forget, then, When I am old, I ever was a child? + I tell you I shall never think of you + Throughout my life, without such tenderness + As breaks the heart,—and I shall think of you + Whenever I am most happy, whenever I am + Most sad, whenever I see a beautiful thing. + You are a burning lamp to me, a flame + The wind cannot blow out, and I shall hold you + High in my hand against whatever darkness. + + BEA. You are to me a silver bell in a tower. + And when it rings I know I am near home. + + Scene 3 + + [A room in the palace. Mario alone. Enter Beatrice.] + + BEA. Mario! I have a message for you!—Nay, + You need not hang your head and shun me, Mario, + Because you loved me once a little and now + Love somebody else much more. The going of love + Is no less honest than the coming of it. + It is a human thing. + + MAR. Oh, Beatrice! + What can I say to you? + + BEA. Nay, but indeed. + Say nothing. All is said. I need no words + To tell me you have been troubled in your heart, + Thinking of me. + + MAR. What can I say to you! + + BEA. I tell you, my dear friend, you must forget + This thing that makes you sad. I have forgotten, + In seeing her so happy, that ever I wished + For happiness myself. Indeed, indeed, + I am much happier in her happiness + Than if it were my own; 'tis doubly dear, + I feel it in myself, yet all the time + I know it to be hers, and am twice glad. + + MAR. I could be on my knees to you a lifetime, + Nor pay you half the homage is your due. + + BEA. Pay me no homage, Mario,—but if it be + I have your friendship, I shall treasure it. + + MAR. That you will have always. + + BEA. Then you will promise me + Never to let her know. I never told her + How it was with us, or that I cherished you + More than another. It was on my tongue to tell her + The moment she returned, but she had seen you + Already on the bridge as she went by, + And had leaned out to look at you, it seems, + And you were looking at her,—and the first words + She said, after she kissed me, were, "Oh, sister, + I have looked at last by daylight on the man + I see in my dreams!" + + MAR. [Tenderly.] Did she say that? + + BEA. [Drily.] Ay, that + Was what she said.—By which I knew, you see, + My dream was over,—it could not but be you. + So that I said no word, but my quick blood + Went suddenly quiet in my veins, and I felt + Years older than Bianca. I drew her head + Down to my shoulder, that she might not see my face, + And she spoke on, and on. You must not tell her, + Even when you both are old, and there is nothing + To do but to remember. She would be withered + With pity for me. She holds me very dear. + + MAR. I promise it, Rose-Red. And oh, believe me, + I said no word to you last year that is not + As true today! I hold you still the noblest + Of women, and the bravest. I have not changed. + Only last year I did not know I could love + As I love now. Her gentleness has crept so + Into my heart, it never will be out. + That she should turn to me and cling to me + And let me shelter her, is the great wonder + Of the world. You stand alone. You need no shelter, + Rose-Red. + + BEA. It may be so. + + MAR. Will you forgive me? + + BEA. I had not thought of that. If it will please you, + Ay, surely.—And now, the reason for my coming: + I have a message for you, of such vast import + She could not trust it to a liv'ried page, + Or even a courier. She bids me tell you + She loves you still, although you have been parted + Since four o'clock. + + MAR. [Happily.] Did she say that? + + BEA. Ay, Mario. + I must return to her. It is not long now + Till she will leave me. + + MAR. She will never leave you, + She tells me, in her heart. + + BEA. [Happily.] Did she say that? + + MAR. Ay, that she did, and I was jealous of you + One moment, till I called myself a fool. + + BEA. Nay, Mario, she does not take from you + To give to me; and I am most content + She told you that. I will go now. Farewell, + Mario! + + MAR. Nay, we shall meet again, Beatrice! +</pre> +<pre xml:space="preserve"> + Scene 4 + + [The ball-room of the palace at Fiori, raised place in back, + surmounted by two big chairs, for Lorenzo and Octavia to sit while + the dance goes on. Dais on one side, well down stage, in full sight + of the audience, for Mario and Bianca. As the curtain rises the + stage is empty except for Fidelio, who sits forlornly on the bottom + steps of the raised place in the back of the stage, his lute across + his knees, his head bowed upon it. Sound of laughter and + conversation, possibly rattling of dishes, off stage, evidently a + feast going on.] + + LAU. [Off stage.] Be still, or I will heave a plate at you! + + LUIGI. [Off stage.] Nay, gentle Laura, heave not the wedding-crockery, + At the wedding-guest! Behold me on my knees + To tell the world I love you like a fool! + + LAU. Get up, you oaf! Or here's a platter of gravy + Will add the motley to your folly! + + LUIGI. Hold her, + Some piteous fop, that liketh not to see + Fine linen smeared with goose! Oh, gracious Laura, + I never have seen a child sucking an orange + But I wished an orange, too. This wedding irks me + Because 'tis not mine own. Shall we be married + Tuesday or Wednesday? + + LAU. Are you in earnest, Luigi? + + LUIGI. Ay, that I am, if never I was before. + + LAU. La, I am lost! I am a married woman! + Water!—Nay, wine will do! On Wednesday, then. + I'll have it as far off as possible. + + [Enter from banquet-room Guido, Giovanni and Raffaele.] + + GIO. Well met, Fidelio! Give us a song! + + FID. Not I! + + GUI. Why, is this? You, that are dripping with song + Weekdays, are dry of music for a wedding? + + FID. I have a headache. Go and sit in a tree, + And make your own songs. + + RAF. Nay, Fidelio. + String the sweet strings, man! + + GIO. Strike the pretty strings! + + GUI. Give us the silver strings! + + FID. Nay then, I will that! + + [He tears the strings off the lute and throws them in Guido's face.] + + Here be the strings, my merry gentlemen! + Do you amuse yourselves with tying knots in them + And hanging one another!—I have a headache. + + [He runs off, sobbing.] + + RAF. What ails him, think you? + + GIO. Troth, I have no notion. + + [Enter Nurse.] + + GUI. What ho, good Grazia! I hear my uncle + Is ill again! + + GRA. Where heard you that, you raven? + + GUI. Marry, I forget. Is't true? + + GRA. It is as false + As that you have forgotten where you heard it. + Were you the heir to his power, which I bless God + You're not!—he'd live to hide the throne from you + Full many a long day yet!—Nay, pretty Guido, + Your cousin is not yet Queen,—and when she is—Faith, + She weareth a wide petticoat,—there'll be + Scant room for you beside her! [Exit Nurse across stage] + + GUI. [To his companions.] None the less + I do believe the king is ill. + + RAF. Who told you? + + GUI. His wife. She is much exercised about him. + + GIO. 'Tis like enough. This woman would rather lie + Than have her breakfast served to her in bed. + + [Exeunt Guido, Giovanni and Raffaele.] + + [Music. Enter Musicians and take place on stage. Enter four pages + and take places on either side the door as from the banquet-hall and + on either side the throne in the back. Enter King and Queen, that is + to say Lorenzo and Octavia, Lorenzo apparently quite well, and seat + themselves on throne in back. Enter courtiers and ladies, Carlotta + with Anselmo, Laura with Luigi, etc., and stand in little groups + about the stage, laughing and talking together. Enter Beatrice + alone, her train held by two pages in black. Enter twelve little + Cupids, running, and do a short dance in the center of the room, + then rush to the empty dais which is awaiting Mario and Bianca, and + cluster about it. Enter Bianca and Mario, she in white and silver, + with a deep sky blue velvet train six yards long, held up by six + silver pages [or Cupids]; he in black and gold, with a purple velvet + train of the same length held by six gold pages [or Cupids]. His arm + is about her waist, she is leaning back her head against him and + looking up into his face. They come in slowly, talking softly + together, as utterly oblivious of the court, the pages, the music, + everything, as if they were a shepherd and a shepherdess walking + through a meadow. They walk slowly across the stage and seat + themselves on the dais. The music changes, strikes up a gay pavane, + or the equivalent of the period of the costumes, the ladies and + courtiers dance. Guido, Giovanni and Raffaele re-enter just as the + music starts and go up to the ladies; Guido goes to Beatrice, and + she dances with him. In the midst of the dance Lorenzo slips a + little sidewise in his chair, his head drops forward on his chest; + he does not move again. Nobody notices for some time. The dance + continues, all who are not dancing watching the dancers, save + Octavia, who watches with great pride and affection Bianca and + Mario, who in turn are looking at one another. Octavia turns finally + to speak to Lorenzo, stares at him, touches him, then screams. + Beatrice should then be in a conspicuous place in the dance. Music + stops in confusion on a dischord, dance breaks up wildly, everybody + rushes to throne.] +</pre> +<pre xml:space="preserve"> + Scene 5 + + [The same room later that evening, entirely empty, disordered. + Musicians' benches overturned, for example, a couple of instruments + left about, garlands trampled on the floor, a wing of one of the + Cupids clinging to the dais of Bianca and Mario. Enter Beatrice, + weeping, goes to her father's throne and creeps up into it, with her + face towards the back of it and clings there, sobbing quietly. Enter + Bianca and Mario,] + + BIA. [Softly.] Ay. She is here. I thought she would be here. + There are so many people by his bed + Even now, she cannot be alone with him. + + MAR. Is there no hope? + + BIA. Nay, there is none. 'Tis over. + He was a kind old man. + + MAR. Come, let us go, + And leave her to herself. + + BIA. Nay, Mario. + I must not leave her. She will sit like that + All night, unless I bid her come away, + And put her into bed. + + MAR. Will you come to me + After she sleeps? + + BIA. Ay. If she sleeps, + + MAR. And if not? + + BIA. I could not leave her. + + MAR. Bianca, do you love me? + + BIA. Ay, Mario! + + MAR. Ah, but not as I love you! + + BIA. You do not mean that, Mario; you know + How much I love you. But I could not be happy + Thinking of her awake in the darkness, weeping, + And all alone. + + MAR. Oh, my sweet love. + + BIA. It may be + She will sleep. + + MAR. I shall be waiting for you. [They embrace.] + + [Exit Mario. Bianca goes to Beatrice and sits at the + foot of the throne, putting her head against Beatrice's + feet.] + + BIA. Sister. + + [After a moment Beatrice slowly reaches down her hand, and + Bianca takes it.] + + CURTAIN +</pre> + <p> + <a name="link2H_4_0005" id="link2H_4_0005"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT IV + </h2> +<pre xml:space="preserve"> + Scene 1—Five years later. + + [A marketplace in Fiori, vegetables, fruits and flowers exposed for + sale in little stalls and wagons, crowd of townspeople moving about, + talking, laughing, buying. Group of children playing a game in a + ring. Supper time.] + + CHILDREN. One, two, three, + The dough is in the oven! + One, two, three, + The bread is on the board! + One, two, three. + The dough is in the oven! + One, two, three, + The bread is on the board! + One, two, three, + All follow me! + + EUGENIA. Good-even, Giovanitta. Those are beautiful + Onions you have there. + + GIO. Ay, it has been a good year + For onions. + + EUG. I am taking seven. + + GIO. Each year, + You buy another onion! + + EUG. Faith, each year + I have another mouth to thrust it in! + Beautiful carrots, too, you have. + + GIO. Ay, carrots + Are well enough. One cannot complain. 'Tis a good year + For carrots. + + CLARA. 'Tis a good year for many things. + Prices are low,—but not too low for profit. + + GIULIANA. And there are fewer taxes than there once were + On things one cannot live without. + + ANNA. 'Tis a good Queen + We have, it must be granted. + + GIO. Ay, and a wise one. + + GILDA. And pretty, too. + + GIULIANA. Ho, ho! When did you see her? + + GILDA. This morning, mother. I was at the edge of the wood + With Beppo, when they rode by to the hunt, + Talking together, and laughing. + + BEPPO. [Calling from across the stage.] And the horses + With feet like this! + [Arching his hands and feet to represent a horse stepping delicately.] + + GILDA. And glittering in the sunshine + In a thousand places, mother! I wanted to tell you + When we returned, but you had gone to the brook + With the linen. They were so near us we could hear them + Talking. + + BEPPO. [Coming up.] And hear the horses breathe! + + ANNA. What said they? + + GILDA. Well, one of them said—what was the name? + + BEPPO. Anselmo. + + GILDA. Oh, ay. She said, "Anselmo, am I getting thinner + Do you think? If I be not thinner than I was at starting, + I shall descend at once! I like not this; + It chatters my teeth." + + BEPPO. And then she said— + + GILDA. What said she? + Oh, ay,—about the boat. + + BEPPO. She said, "Next time + I shall go fishing instead of hunting. A boat + Hath a more mannerly gait!" + + GILDA. There was one horse, mother, + That was all white! There was not one hair upon him + That was not white! + + GIULIANA. And who was riding that horse? + + BEPPO. A man. And riding well. + + GILDA. He was dressed in green, + And had a yellow beard. And there was a lady + With hair the color of Adelina's, bright + Like fire. She was dressed in blue, and was most beautiful. + + BEPPO. And she was mounted on a dappled mare. + + GILDA. But, oh, it was the Queen that was more lovely— + Than any of the rest! + + GIO. How did you know, now, + It was the Queen? + + GILDA. Nay, but you could not help + But know! She was not laughing like the rest,— + Just smiling; and I would not have been afraid + To toss a flower to her from the wood, + If I had had a flower. + + BEPPO. You knew her, though, + Because she was in scarlet. All the world knows + She wears a scarlet mantle! + + GILDA. Nay, if that were all, + It might have been the Pope! + + BEPPO. I would it had been. + I never saw the Pope. + + GILDA. You never saw + The Queen until this morning!—Mother, she rides + Clothed like a man, almost! + + BEPPO. With sword at side! + + GILDA. And, oh, the sword had a jeweled—what is the name of it? + + BEPPO. Scabbard, of course! + + GILDA. A jeweled scabbard, mother! + I wish I were a queen. + + BEPPO. Ho, you would make + A proper queen, with that droll nose of yours! + + GILDA. I know a boy who likes my nose! + + BEPPO. Ho, ho! + He must be a hunch-back! + + GIULIANA. You must not tease her, Beppo. + + GILDA. I wish I were queen. If I were a queen, + You would not dare to say my nose is droll. + + BEPPO. It would be, all the same. + + GIO. You should be content + With what you have, not cry to rise beyond it. + It is a sin to covet. + + GIULIANA. Being a queen, + My bird, is not all riding to the hunt + Of a sunny morning. + + ANNA. Nay, 'tis riding back + At times, of a rainy night, to such a burden + Of cares as simple folk have little mind of. + + GILDA. I'd rather have a queen's cares than my own. + + BEPPO. Ho, ho! Your cares! What cares have you? + + GILDA. I have + A brother that will be teasing me all times! + 'Tis cares enough for one, I tell you. + + ADELINA. [Across stage.] Beppo! + Come help me fetch the milk! + + GILDA. Oh, Mister Beppo, + Your sweetheart calls you! Run and fetch the milk! + + LEONORA. [From a house, coming out.] Come in to supper, children! + + RIGO. Oh, not just yet! + + ELENORA. Father's not home yet! + + LEONORA. You need not wait for him. + + LOUIS. May we come out again? + + LEONORA. [Joining other women.] Ay, for a time. + Till it gets dark. + + RIGO. [To Louis.] 'Tis dark now, almost. + + LOUIS. Hush! + She does not know it. + + GIULIANA. 'Tis dark now. + + LEONORA. Ay, I know. + I let them play a little after dark + Sometimes, when the weather's fine. I would not have them + Afraid of shadows. They think I do not know + Darkness from light. + + ELENORA. There's father now! + + RIGO. I see him! + + [Elenora, Louis and Rigo run off the stage and along the path.] + + LEONORA. He is late home today. I cannot think + What may have held him. 'Twill be deep night already + In the woods. + + CESCO. [Off stage, harshly.] Down! Down! Do you run back to your mother! + See you not I am in haste?—Hang not upon me! + + EUG. La! He is in a temper! + + LEO. I never knew him + So out of patience with them. + + GIU. He is hungry, maybe. + + LEO. He is often hungry, but I never knew him + So out of patience. [The children come running back. To Elenora.] + Why do you weep, my heart? + + LUI. Father is someone else tonight. + + ELENORA. [Weeping.] He pushed me! + + [Enter Cesco, with game on his shoulder, or a basket of mushrooms.] + + SEVERAL WOMEN. Good-even, Cesco. + + CES. [To Leonora.] Look you, Leonora, + Have we a bed fit for a queen to lie in? + + LEO. Nay, faith! Not we! + + GIL. She can have my bed, mother. + + GIN. Ay, true. There is a bed in my house, Cesco. + + GIO. What will the queen do here? + + GIU. I would indeed + She had let us know that she was coming! + + CES. The Queen + Knew not herself. Nor is she coming of herself. + They are bringing her,—on a litter of crossed boughs, + + GIL. She is not dead? + + CES. Nay. Wounded in the arm + A little, and in a swoon. But the young King + Of Lagoverde is no more! + + WOMEN. How so? + + CES. I tell you my two eyes have looked this day + On a sad and useless thing!—A fine lad, young, + And strong, and beautiful as a lad may be, + And king of a fair country, thrust from horse + By a foul blow, and sprawled upon the ground,— + Legs wide asunder, fist full of brown mud, + Hair in his eyes,—most pitiful unkingly! + Bring me a mug of wine, good wife! [Leonora goes out.] + + GIO. You, Gilda! + There is a queen you would not be tonight, + I'll warrant you,—the Queen of Lagoverde, + With her two fatherless babes! + + EUG. Nay, now, good Cesco, + What is this matter? + + CES. You'll know it quick enough. + They will be bringing the queen here ere I have breath + To tell you. They are coming by the road, + I took the mountain-path, and ran. + + GIU. I must hasten + To put fresh sheets on. [To Gilda.] Look you,—listen well + If he should talk, and tell me afterwards. [Exit.] + + EUG. Here comes Horatio! The boats are in. + + [Some children rush down to the water-side.] + + A good day, husband? + + HOR. Ay, a heavy day. + What think you of that?—A big one, eh?—Came in + With a school of little fish,—too greedy that time! + What happens here?—The air is full of breathing! + + [The men come up from the boats with children clinging to them. + Beppo and Adelina return from another direction with the milk.] + + LEO. [Somewhat proudly.] Cesco will tell you. + + CES. In a word 'tis this: Today the Queen of Fiori, + Returning from the hunt, is set upon + By brigands; where at the King of Lagoverde, + Being hunting in that quarter and hearing cries, + Comes up to give his aid; in rendering which + He gives his life as well, and at this moment, + On other men's legs, goes heavily home to supper. + The Queen of Fiori, wounded, and in a swoon + Only less deep than death itself, comes this way. + + CROWD. Ay, here they come! [Enter Anselmo.] + + ANS. Make way, make way, good people— + Fall back a little—leave a clear space—give air! + + [Enter Laura and Francesca, Luigi, several gentlemen, several + attendants, four of them bearing a litter on which lies Beatrice, in + a scarlet cloak, her hair flowing. Luigi is with Laura, who clings + to him. If possible to arrange, several of the party may lead on + their horses and lead them off across the stage. The litter is set + down stage in full sight of the audience. Beppo comes down stage + near it, as does also, from another direction, Gilda. Giuliana + returns.] + + ANS. Who has a bed that we may lay her on? + She cannot leave this place tonight. + + GIU. This way, sir. + + [The attendants pick up the litter and go off, the crowd following.] + + GIL. [Stealing back.] Hist, Beppo! + + BEPPO. Ay? + + GIL. Heard you not something fall, + When they picked her up again? + + BEPPO. Ay, that I did. + + GIL. What was it, think you? [They search.] Nay, 'twas nearer here. + + BEPPO. I have it.—'Tis her sword! + + GIL. The Queen's? Ay,—truly. + How beautiful! + + BEPPO. [Slowly and with awe drawing it from its scabbard.] + Look,—there is blood on it! +</pre> +<pre xml:space="preserve"> + Scene 2 + + [A room in the palace at Lagoverde. Bianca and her two little + daughters discovered at the rise of the curtain, she in a big chair, + they at her feet.] + + BIA. And so the fairy laid a spell on her: + Henceforth she should be ugly as a toad. + But the good fairy, seeing this was done, + And having in no wise power to alter this, + Made all toads beautiful. + + LITTLE ROSE-RED. They are not beautiful + Now, mother! + + LITTLE SNOW-WHITE. That was in another country!— + What country, mother? [Bianca, lost in thought, does not answer.] + + LITTLE ROSE-RED. Where is father, mother?— + I have not seen him in so many days! + + BIA. Father is gone away. + + LITTLE ROSE-RED. Will he come back? + + BIA. Nay. He will not come back. But we shall go + Where he is. + + LITTLE SNOW-WHITE. Soon? + + BIA. God grant it may be soon! + Now—-shall we play a game? + + [Enter Octavia.] + + OCT. Bianca. + + BIA. Ay. + + OCT. It is a folly to remain indoors + Like this. You should be out in the sunshine. + + BIA. Nay. + I have no business with the sunshine. + + OCT. Ah, + My daughter, say not so!—The children, then,— + They have much need of it, and they have need + Of you, at the same time. Take them without. + + BIA. I do not wish to be in the sunshine. + + LITTLE SNOW-WHITE. Mother, + Come out of doors! + + OCT. You see, now! + + BIA. Do you run out, dears, + And play at ball. Mother will join you later. + + LITTLE ROSE-RED. Where is my ball? + + BIA. Nay, do you not remember? + We put it in the ear of the stone griffin, + Because he hears too much. + + LITTLE ROSE-RED. Ay, so we did! + + LITTLE SNOW-WHITE. Come on, Rose-Red! [Exeunt children.] + + OCT. It is a curious thing + This friend of yours you rate so monstrous high + Has not come nigh you in your sore affliction! + + BIA. I beg you not to speak of that again, + Mother. 'Tis the third time today you have said that, + Or hinted at it. And I answer always, + "There is some reason for it," as I should answer + Though you cried daily till the day of doom, + "It is a curious thing!" There is some reason, + There is some good reason why she does not come. + + OCT. Oh, ay, I doubt it not! But there are reasons + And reasons! + + BIA. And what am I to learn from that? + + OCT. 'Tis scarce by reason of too much love for you + She leaves you friendless in your greatest need. + + BIA. I cannot say. 'Tis one thing or another. + You have no words can turn me to believe + She has forgotten me, or loves me less. + 'Tis a big thing, to leave me thus alone,— + And there is some big reason. + + OCT. Ay. Oh, ay. + 'Tis possible she grieves for Mario's death + No less than you, + + BIA. [Simply] Ay, it is possible. + I mind she told me on my marriage-day + She was as happy as I. + + OCT. 'Tis a curious thing, + When he was here she came to see you often, + But now that he is gone comes not at all. + + BIA. [Simply.] Ay, it is curious. [Catching Octavia's expression.] + + BIA. Nay, what evil thing + Is in your mind, gives you that evil smile? + + OCT. Only a little thought. + + BIA. A little thought, + I'll warrant you!—You'd have me to believe + She loved my husband? + + OCT. Ay, I know she loved him. + + BIA. It is a lie! + + OCT. How dare you say I lie! + + BIA. Oh, do not be so proud! Let us speak truth + At length, a little! We are so garnished up + With courtesies, so over-sauced and seasoned, + We cannot taste each other! Why do you tell me + A thing like that?—-You have no love for me! + + OCT. [Weeping,] I love you too much—you are the only thing + I do love! + + BIA. Nay, it is not love of me + For my own self. Else would you do the thing + Would make me happiest. You know how I have loved her, + Since we were children. You could not be to me + What she was; one forgets too many things. + You could not know my thought. I loved you dearly; + But you were hard to love; one never knew + Whether you would be hot or cold to touch. + Whilst she and I,—oh, we were two young trees + So nearly of a height we had the same world + Ever within our vision!—Yet all these years, + Even from the time we first went to Fiori, + You have been bearing me your little tales,— + "She had done this and that, she was thus and so—", + Seeking to stir and poison the clear water + Of my deep love for her! And now this thing. + Which is not true. But if it had been true, + It would not be so out of all reason cruel + As that you should have told me of it now. + Nay, do not weep. All day 'tis one of us + Making the other weep. We are two strange, + Unhappy women. Come, let us be at peace. + + [Pause. Bianca rises suddenly.] + + Mother, farewell a little while. I go now + To her, seeing that she does not come to me. + But not to question her, not to demand, + "How comes it this? What can you say to that?" + Only to sit beside her, as in the old days, + And let her lay her quiet on my heart. +</pre> +<pre xml:space="preserve"> + Scene 3 + + [The garden at Fiori, same as in Act I, Scene 1. Discovered seated + on a stone bench in the sunshine, Beatrice, clad in a loose gown, + looking very ill. Fidelio sings off stage.] + + FID. [Singing.] + "Let the little birds sing, + Let the little lambs play. + Spring is here, and so 'tis spring,— + But not in the old way. + + I recall a place + Where a plum-tree grew,— + There you lifted up your face + And blossoms covered you. + If the little birds sing, + And the little lambs play, + + Spring is here, and so 'tis spring,— + But not in the old way." + + BEA. It is a pretty song. There be some things + That even the tortured heart's profoundest anguish + Cannot bring down from their high place. Music + Is one of them. [Enter Grazia carrying a bowl.] + + GRA. Now, will you drink this broth, + Or will you not? I swear upon my shroud— + And 'tis a solemn oath—I never nursed + So vaporous a patient!—Come, my bird! + + BEA. [Taking the bowl, then setting it down.] Nay, Nurse, I cannot. + + GRA. Oh, alackaday! + What shall I do with you? Come now, and drink me + The pretty broth, my dear! + + BEA. I will drink it later. + 'Tis too hot. + + GRA. Ay, and in a moment 'twill be + Too cold! And you'll not drink it! I could cry! + + [Exit Grazia.] + [Enter Fidelio.] + + BEA. Fidelio, as you love me, do you drink this, + And quickly, man! + + FID. [With grief.] Oh, my dear mistress! + + BEA. Drink! + + FID. [Sadly, drinking.] I best would leave a little, else she'll know + 'Twas never you. + + BEA. Ay, so you would. I' faith, + It is a knave's trick, but I cannot touch it. + Go now, Fidelio, ere she come again. + + [Exit Fidelio.] + [Enter Bianca.] + + BIA. [Softly.] Rose-Red. + + [Beatrice looks up and listens, thinking it a dream.] + + BIA. Rose-Red, dear sister! + + BEA. [Bowing her head and weeping.] Oh, my heart! + + BIA. [Coming towards her.] Why do you weep? + + BEA. [Looking up startled and seeing her, jumping to her feet.] + Oh, no! Oh, God above! + Go back! Go back! + + BIA. [Amazed, quietly.] Beatrice, are you mad? + 'Tis I, Bianca. + + BEA. [More quietly.] Ay, I know 'tis you. + And you must go away. + + BIA. [Breaking down.] You are mad, my dear! + + BEA. I would I were. For madmen have their moments + Of light into the brain.—Hear me. Bianca, + You must return at once to Lagoverde, + And come to me no more, and think of me + No more. + + BIA. Ay. I will go. But ere I go + Tell me you do not love me, 'Tis apparent + You do not. I but wish to hear the words. + + BEA. Nay, that I will not say. It would be well, + To say it, and let it be. But I'll not say it, + It is not true. + + BIA. You love me still? + + BEA. I love you + More than all else on earth. But I have wronged you + So hugely that I cannot think of it + And stand here talking with you—I am ill—[She staggers.] + You must pardon me—I have been very ill— + + BIA. Then it is true? + + BEA. [With a cry as of relief.] Ay, it is true! Who told you? + + BIA. My mother told me. I said it was not true. + But if 'tis true—I pity you, Rose-Red, + I pity him. I pity us all together. + + BEA. [Feverishly.] Ah, I can see it now!—the quiet road + In the deep wood's gathering darkness, the reins loose + On the horses' necks, that nodded, nodded, and we + Speaking from time to time, and glad to think + Of home,—and suddenly out of nowhere,—fury, + And faces, and long swords, and a great noise! + And even as I reached to draw my sword, + The arm that held the scabbard set on fire, + As if the sleeve were burning!—and my horse + Backing into the trees, my hair caught, twisted, + Torn out by the roots! Then from the road behind + A second fury! And I turned, confused, + Outraged with pain, and thrust,—and it was Mario! + + BIA. [Wildly.] What are you saying? What are you saying? What is this + You are telling me? That it was you? Your hand—? + Oh, God have mercy upon me! Let me go! + + BEA. [Pitifully, reaching out her arms towards her.] + Snow-White! Snow-White!—farewell! + + BIA. [Without turning.] Oh, God have mercy! + + [Exit Bianca.] + + [Beatrice falls unconscious to the floor.] + + CURTAIN +</pre> + <p> + <a name="link2H_4_0006" id="link2H_4_0006"> + <!-- H2 anchor --> </a> + </p> + <div style="height: 4em;"> + <br /><br /><br /><br /> + </div> + <h2> + ACT V + </h2> +<pre xml:space="preserve"> + Scene 1 + + [A room in the palace at Fiori. Anselmo and Luigi.] + + LUIGI. Nay, is that true, Anselmo? + + ANS. Aye, 'tis true. + But no one saw save me, I drew her sword + Out of his heart and thrust it in its scabbard, + Where she lay senseless. + + LUI. Oh, unhappy Queen! + + ANS. Ay, she does not forget. Has it not struck you + She rides no more? Her black horse stands in stable, + Eating his head off. It is two years now + Since she has visited Lagoverde; and the Queen + Of Lagoverde comes not nigh this place. + + LUI. There's not the reason that there was to come + Before Octavia's death. + + ANS. Nay, 'tis not that. + + LUI. Think you that Beatrice told her? + + ANS. Ay, + I doubt it not. + + LUI. 'Tis hard. They were close friends. + + ANS. And since that day her hand upon the scepter + Trembles,—and Guido sees. She goes too much + Among the people, nursing them. She loves them; + Their griefs are hers, their hearts are hers, as well. + But Guido has a following in this court + That hangs upon his word, and he has taught them + Her gentleness is weakness, and her love + Faint-hearted womanish whims, till they are eager + To pull her down, and see a man in place of her. + + LUI. Her throne is like a raft upon a sea, + That shifts, and rights itself, and may go down + At any moment. + + ANS. The more especially + For all these drowning beggars that cling to it, + Chattering for help. She will not strike them off. + + LUI. Unhappy Queen. And there's a storm approaching, + If ever I smelled wind. + + ANS. I fear it Luigi. + + [Exeunt Anselmo and Luigi. Enter Guido and Francesco.] + + FRA. How do I know you love her still?—I know, + The way you fall a-tapping with your fingers, + Or plucking at your eye-brows, if her name + Is spoken, or she move across the court. + How do I know?—Oh, Guido, have I learned you + So little, then, in all these bitter years? + I know you very well. + + GUI. You know too much + I'll have an end of this, I tell you! + + FRA. Ay. + You've told me that before.—An end of what? + What is this thing you'll put this mighty end to? + 'Fore God I would I know. Could I but name it, + I might have power to end it then, myself! + + GUI. I'll have an end of these soft words at twilight, + And these bad mornings full of bile! I'll have an end + Of all this spying on me! + + FRA. [Gently.] 'Tis not so. + I do not spy upon you. But I see you + Bigger than other men, and your least gesture— + A giant moving rocks.—Oh, Guido, tell me + You do not love her! Even though I know + You lie, I will believe you,—for I must! + + GUI. [Pause.] Nay, I am done with you. I will tell you nothing. + Out of my way!—I have that on my mind + Would crush your silly skull like the shell of an egg! + Od's body, will you keep your ugly claws + From scratching at my sleeve? + + [He thrusts her roughly aside and rushes out.] + + FRA. [Creeping away, sobbing.] Oh, God—oh, God— + I would whatever it is, that were over. + + [Exit.] + + [Enter Fidelio, and crosses the stage, singing.] + + FID. [Singing.] + "Rain comes down + And hushes the town. + <i>And where is the voice that I heard crying</i>? + Snow settles + Over the nettles. + <i>Where is the voice that I heard crying</i>? + Sand at last + On the drifting mast. + <i>And where is the voice that I heard crying</i>? + Earth now + On the busy brow. + <i>And where is the voice that I heard crying</i>?" + + [Exit Fidelio.] +</pre> + <p> + Scene 2 + </p> + <p> + [The court-room in the palace at Fiori, extremely crowded with restless + and expectant people. The crowd is arranged on both sides of the stage, in + such a way that a broad avenue is left in the middle, leading from the + footlights to the back of the stage and gradually narrowing to a point at + Beatrice's throne. On the extreme right and left of the stage, along the + back of the crowd, stands the guard, a large body of armed soldiers, at + attention, in double row. On either side the throne stands an armed + soldier. As the curtain rises the court is all standing and looking off + stage in a certain direction. Enter the Queen, Beatrice, from that + direction, walks in, looking straight ahead, goes to the throne and seats + herself. The court sits. The clerk begins to read.] + </p> +<pre xml:space="preserve"> + CLERK. The first case to be heard is that of Lisa, + A widow with two small children, who resides + Near the Duke's wood, and has been caught in the act + Of cutting trees there, and hauling them home to burn. + + BEA. Stand, Lisa. You are a widow, I am told. + With two small children. + + LISA. Ay, your Majesty, + Two little boys. + + BEA. I know another widow, Lisa, + With two small children,—but hers are little girls. + Have you been cutting trees on the Duke's land? + + LISA. No, Majesty. I could not cut a tree. + I have no axe. + + BEA. And are you strong enough + To break a tree with your hands? + + LISA. No, Majesty. + + BEA. I see. What do you do, then? There must be + Some reason for this plaint. + + LISA. I gather wood + That's dead,—dried boughs, and underbrush that's been + A long time on the ground, and drag it home. + + BEA. Have you a wood-pile? + + LISA. Nay. I gather enough + Each day for the day's need. I have no time + To gather more. + + BEA. And does the dry wood burn + As well as other wood? + + LISA. Oh, better! + + BEA. I see. + You would as lief, then, have this wood you gather, + This dead wood, as a green tree freshly cut? + + LISA. Ay, I would liefer have it, Majesty. + I need a fire quickly. I have no time + To wait for wood to season. + + BEA. You may sit down, + + LISA. Is the Duke's agent here? + + AGENT. Ay, here. + + BEA. What is it the Duke's custom to have done + With this dead wood on his estate? + + AGENT. He burns it, + Your Majesty. + + BEA. You mean to say, I think, + He pays a price to have it gathered and burned. + + AGENT. Ay, Majesty. + + BEA. Where is it burned? + + AGENT. In a clearing. + + BEA. And what is cooked upon it? + + AGENT. Nothing is cooked. + The Duke is not a gypsy. [With irritation.] + + [Pause.] + [Slight titter in court-room, instantly hushed into profound silence.] + + BEA. [Evenly.] If he were, + He would be shrewder, and not be paying money + For what this woman is glad to do for naught. + Nothing is cooked, and nobody is warmed,— + A most unthrifty fire! Do you bid the Duke, + Until he show me sounder cause for plaint, + Permit this woman to gather unmolested + Dead wood in his forest, and bear it home.—Lisa, + Take care you break no half-green boughs.—The next case? + + CLERK. Is that of Mario, a miller, accused + Of stealing grain. A baker, by name Pietro, + Brings this complaint against him, + + MESSENGER. [Rushing in and up to throne.] Majesty, + Bianca of Lagoverde lies a-dying, + And calls for you! + + BEA. [Rising.] She calls for me? + + MESSENGER. Ay, Majesty. + + [Beatrice stands very still a moment, then turns to the townspeople.] + + BEA. [Earnestly and rapidly,] You people, do you go now and live kindly + Till I return. I may not stay to judge you; + Wherefore I set you free. For I would rather + A knave should go at large than that a just man + Be punished. If there be a knave among you, + Let him live thoughtfully till I return. + + [She steps down from the throne, and is immediately + seized by the arm on either side by the two guards who + have been standing beside the throne.] + + BEA. Why, what is this, Enrico? [Looking up at the soldier on her right.] + Nay, it is not + Enrico! [Looking to other side.] Nor is it Pablo! How is this? + + [From each side of the stage one row of the double + row of soldiers detaches itself, marches down around the + front of the stage and up towards the throne, making an + armed alley for the Queen to walk down, and entirely + surrounding the crowd.] + + Nay, all new faces. So! Upon my word, + And keep your fingers from me!—I see you there, + Angelo! Do not turn your head aside! + And you, Filippo!—Is the sick hand better + I bound the bandage on?—Is't well enough + To draw a sword against me?—Nay, I am sick. + I, that have loved you as your mothers love you— + And you do this to me! Lead me away. + + [The two guards lead out the Queen. Nobody else moves. The + townspeople cower and stare. The two little pages that bore her + train as she entered remain back of the throne, not knowing what to + do. As she goes by them, her train dragging on the ground, the two + ragged little boys of Lisa, the wood-gatherer, run out from the + group of citizens, pick up the ends of her train, and go out, + holding it up, one of them with his arm over his eyes.] +</pre> +<pre xml:space="preserve"> + Scene 3 + + [A dungeon. Beatrice alone, sitting on a bench, her head bowed in + her hands. Enter Guido] + + BEA. Guido, is't you! + + GUI. Ay, it is I, my Queen. + You sent for me, am I mistake not? + + BEA. Ay. + Guido, you will not keep me when I tell you + Snow-White is dying and calls my name! + + GUI. I knew that. + + BEA. You knew that, and you hold me here. Oh, Heaven! + What are you? + + GUI. I am a man. You should have thought + Of that before. I could have been your friend + If it had pleased you. Failing that, I am + Your enemy. I am too aware of you, + And have been ever, to hold me in at less. + + BEA. Guido. I beg of you upon my knees + To let me go! + + GUI. And why should I do that? + + BEA. For pity's sake! + + GUI. I do not know the word. + + BEA. Then for the sake of my sworn hand and seal + Upon a paper yielding fair to you + This sovereignty you prize. It is to me + Little enough tonight. I give it gladly. + + GUI. You have no power to give what I have taken + Already, and hold upon my hand, Rose-Red, + + BEA. Oh, do not call me that! Oh, Guido, Guido, + I cannot suffer further! Let me go! + If only for a moment, let me go! + I will return,—I will but take her hand, + And come away! I swear it! Let me go! + + GUI. On one condition only. + + BEA. Ay! 'Tis granted, + Ere it is spoken! + + GUI. That upon returning + You come to me, and give yourself to me, + To lie in my arms lovingly. [She is stricken speechless.] You hear? + To lie in my arms lovingly. + + BEA. Oh, God! + + GUI. It is my only word. + + BEA. Oh, God! Oh, God! + + GUI. 'Tis granted? + + BEA. Nay,—I cannot! I will die + Instead. Oh, God, to think that she will lie there + And call for me, and I will never come! + + GUI. Goodnight. [He goes to door.] + + BEA. [In a quiet voice.] Guido! + It shall be as you say. + + GUI. [Rushing to her.] Ah, Beatrice! + + BEA. Nay, touch me not yet. + I will return. [She laughs like a child.] Why,—'tis a simple matter! + I wonder now that even for a moment + I held myself so dear! When for her sake + All things are little things!—This foolish body, + This body is not I! There is no I, + Saving the need I have to go to her! +</pre> +<pre xml:space="preserve"> + Scene 4 + + [A room at Lagoverde. Bianca lying in bed, ill to death. The children + clinging to the bed, their nurse trying to draw them away, Giulietta + a maid, in the background. Possibly other attendants about.] + + LITTLE ROSE-RED. Tell us a story, mother! + + NURSE. Come away, now! + + LITTLE SNOW-WHITE. Tell us a story! + + BIA. Do you go away with nurse + A little while. You will bring them back to me + Later? + + NURSE. [Weeping.] Ay, madam. + + [She goes out with the children.] + + BIA. Later—not much later, + I think.—Hear you no sound of horses yet, + Giulietta, galloping this way? + + GIU. Nay, not yet. + + BIA. [To herself.] I will not go until she comes. I will not. + Still,—if I should—Giulietta! + + GIU. [Coming quickly to the bed.] Ay, my mistress! + + BIA. She will come, I tell you! + + GIU. Ay, I doubt it not. + + BIA. Ay, she will come. But if she should come late, + And I no longer be here to receive her, + Show her all courtesy, I conjure you. + She will be weary, and mightily distraught. + Make her take wine,—and bring the children to her. + And tell her, they are hers now. She is their mother. + + [Giulietta starts to go back to the window.] + + And say to her—wait!—I have a message for her. + Say to her this, Giulietta: The foot stumbles, + The hand hath its own awkward way; the tongue + Moves foolishly in the mouth; but in the heart + The truth lies,—and all's well 'twixt her and me. + Can you remember that? + + GIU. Ay, madam, I think so. + If not the words, at least the gist of it. + + BIA. Forget it all, my good child, but forget not: + All's well 'twixt her and me. + + GIU. Nay, that I have. + + BIA. I will sleep now a little. Do you leave me. + But go not far. [She lies still for a moment, then starts up.] + I hear the sound of hoof-beats! + + GIU. Nay, madam. + + BIA. Ay, I tell you! I can hear them! + My face upon the pillow brings my ear + Nearer the ground! She is coming! Open the door! + + [She kneels up in bed and holds out her arms towards the door, + maintaining this position till Beatrice comes. Giulietta, weeping, + opens the door, and stands in it, shaking her head sadly.] + + GIU. [Suddenly lifting her head and listening.] Nay, it is so! I hear it + now myself! + Ay, there's a horse upon the bridge! + + BIA. She's coming! + Stand back! Stand out of the doorway! [Pause.] + + SERVANT. [Entering.] Majesty, + The Queen is here. + Ay, ay! Stand out of the doorway! [Pause.] + + GIU. She is here! She is in the court! She has leapt from horse! + Madam, Oh, God be praised! This way! + + BIA. Sister! + + [Beatrice enters in her riding clothes, leaps to the bed, Bianca + throws her arms about her neck, and dies.] + + BEA. [After a moment, looking down at her.] + Snow-White! Oh, no! Oh, no! Snow-White! [She screams.] Ah-h! Help me! + She is dying! + + [Attendants and nurses rush in, also the children.] + + LITTLE SNOW-WHITE. Mother, wake up! + + LITTLE ROSE-RED. Come out of doors! + + BEA. Take them away. Snow-White! [Leaning over the bed.] + + NURSE. Nay, it is over, + Madam. + + BEA. Leave me. Leave me alone with her. + + [Exeunt all but Beatrice. She kneels beside the bed.] +</pre> +<pre xml:space="preserve"> + Scene 5 + + [A room at Lagoverde, The next day. Beatrice alone.] + + BEA. In sooth, I do not feel the earth so firm + Under my feet as yesterday it was. + All that I loved are gone to a far land, + And left me here alone, save for two children + And twenty thousand enemies, and the thing + Of horror that's in store for me. Almost + I feel my feet uprooted from the earth, + There's such a tugging at me to be gone. + Save for your children, [Looking off stage towards Bianca's room.] + 'twould be simple enough + To lay me down beside you in your bed, + And call on Death, who is not yet out of hearing, + To take me, too. [Enter Fidelio.] + + FID. Mistress I have news for you. + Guido is dead! + + BEA. Is dead? + + FID. Ay, he is dead, + Dead of a dagger i' the back,—and dead enough + For twenty. Scarce were you gone an hour's time + We came upon him cold. And in a pool + Nearby, the Lady Francesca floating drowned, + Who last was seen a-listening like a ghost + At the door of the dungeon, 'Tis a marvelous thing! + But that's not all! + + BEA. Why, what more can there be? + + FID. Mistress, in the night the people of Fiori + Rose like a wind and swept the Duke's men down + Like leaves! Your throne is empty,—and awaits you! + + [Enter Giulietta,] + + GIU. Madam. + + BEA. Ay, Giulietta. + + GIU. Madam, last night, + Before you came, she bade me tell you something, + And not forget. 'Tis this: That the foot stumbles, + The hand doth awkward things, and the foolish tongue + Says what it would not say,—but in the heart + Truth lies,—and all is well 'twixt her and you. + + [She starts to go out, and turns back at the door.] + + She bade me above all things to forget not + The last: that all is well 'twixt her and you. [Exit.] + + BEA. [Slowly and with great content.] + She is not gone from me. Oh, there be places + Farther away than Death! She is returned + From her long silence, and rings out above me + Like a silver bell!—Let us go back, Fidelio, + And gather up the fallen stones, and build us + Another tower. +</pre> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + + + + + +End of Project Gutenberg's The Lamp and the Bell, by Edna St. Vincent Millay + +*** END OF THIS PROJECT GUTENBERG EBOOK THE LAMP AND THE BELL *** + +***** This file should be named 3768-h.htm or 3768-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/7/6/3768/ + +Produced by David Starner, David Widger and the Distributed Proofreaders Team + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Lamp and the Bell + +Author: Edna St. Vincent Millay + +Release Date: February, 2003 [Etext #3768] +Posting Date: January 7, 2010 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE LAMP AND THE BELL *** + + + + +Produced by David Starner and the Distributed Proofreaders Team + + + + + +THE LAMP AND THE BELL + +A Drama In Five Acts + +By Edna St. Vincent Millay + + + +Written on the occasion of the Fiftieth Anniversary of the Founding +of the Vassar College Alumnae Association + +Dedicated to '1917' + + + + + Lorenzo, King of Fiori Julia Lovejoy Cuniberti '11 + Mario, King of Lagoverde Valerie Knapp '20 + Guido, Duke of Versilia, + Illegitimate nephew to Lorenzo Louisa Brook Jones '07 + + Giovanni Katherine Jones '20 + Luigi Muriel Izard '17 + Anselmo Lucia Cole Waram '01 + Raffaele Eleanor Kissan '20 + Gentlemen at the court of Lorenzo + + Fidelio Geneva Harrison '20 + Jester at the court of Lorenzo + + Giuseppe Eleanor Fatman Morgenthau '13 + Agent for the Duke's estates + + Cesco Gertrude Taylow Watkins '07 + Horatio Lucille Stimson Harbey '09 + Townsmen of Fiori + + Beppo Marcell Furman Newburg '19 + A little boy, son to Guiliana + + Rigo Ruth Delepenha '17 + Louis Emily Gallagher '21 + Little boys, sons to Leonora + + Clerk Lucy Madeira Wing '96 + + Messenger Esther Saville Davis '06 + + Octavia, Lorenzo's second wife Montgomery Cooper '09 + + Beatrice, "Rose-Red," Clifford Sellers '21 + Daughter to Lorenzo by a former marriage + + Bianca, "Snow-White," Lois Duffie '20 + Daughter to Octavia by a former marriage + + Laura Frances Stout Kellman '17 + Carlotta Kathleen Millay Young ex-'21 + Francesca Dorothy Comstock '19 + Viola Lillian White '18 + Lilina Caroline Goodrich '16 + Lela Sylvia Brockway '20 + Arianna Margaret Hughes '18 + Claudia Janet Lane '18 + Clara Jeanette Baker '18 + Lucia Ellen Hasbrouck '15 + Ladies at the Court of Lorenzo + + Grazia Eleanor Ray Broeniman '99 + Nurse to Beatrice and Bianca + + Giulietta, servant to Bianca Virginia Archibold '17 + "Little Snow-White" Gretchen Tonks + "Little Rose-Red" Joy Macracken '36 + + Leonora Catherine Barr '20 + Giuliana Mabel Hastings Humpstone '94 + Clara Olive Remington '19 + Giovanitta Caroline Curtis Johnson '83 + Anna Frances Haldeman Sidwell '84 + Eugenia Helen Hoy Greeley '99 + Townsmen of Fiori + + Eleanora + A little girl, daughter to Leonora + + Gilda Ruth Benedict '20 + A little girl, sister to Beppo + + Adelina, another little girl Maiserie MacCracken '31 + Nurse Edith Ward + + Pierrot + Harlequin + Pant Aloon + Polichinello + Colombine + Strolling players + + Courtiers, Ladies-in-Waiting, Soldiers, Pages, Musicians, + Towns-people, Children + + + + +PROLOGUE + + [Anselmo and Luigi] + + ANSELMO. What think you,--lies there any truth in the tale + The King will wed again? + + LUIGI. Why not, Anselmo? + A king is no less lonely than a collier + When his wife dies, And his young daughter there, + For all her being a princess, is no less + A motherless child, and cries herself to sleep + Night after night, as noisily as any, + You may be sure. + + ANSELMO. A motherless child loves not, + They say, the second mother. Though the King + May find him comfort in another face,-- + As it is well he should--the child, I fancy, + Is not so lonely as she is distraught + With grief for the dead Queen, and will not lightly + Be parted from her tears. + + LUIGI. If tales be true, + The woman hath a daughter, near the age + Of his, will be a playmate for the Princess. + + CURTAIN + + + + +ACT I + + Scene 1 + + [Scene: A garden of the palace at Fiori; four years later.] + + [Discovered seated Laura, Francesca and Fidelio, Laura embroidering, + Fidelio strumming his flute, Francesca lost in thought.] + + LAURA. You,--Fool! If there be two chords to your lute, + Give us the other for a time! + + FRANCESCA. And yet, Laura, + I somewhat fancied that soft sound he made. + 'Twas all on the same tone,--but 'twas a sweet tone. + + LAURA. 'Tis like you. As for myself, let music change + From time to time, or have done altogether. + Sing us the song, Fidelio, that you made + Last night,--a song of flowers, and fair skies, + And nightingales, and love. + + FIDELIO. I know the song. + It is a song of winter. + + LAURA. How is that? + + FIDELIO. Because it is a song of summer set + To a sad tune. + + FRANCESCA. [Sadly] Ah, well,--so that it be not + A song of autumn, I can bear to hear it. + + LAURA. In any case, music. I am in a mood for music. + I am in a mood where if something be not done + To startle me, I shall confess my sins. + + [Enter Carlotta.] + + CARLOTTA. Ha! I will have that woman yet by the hair! + + LAURA. What woman, pray, Carlotta? + + CAR. Ho! What woman! + Who but that scullery-wench, that onion-monger, + That slatternly, pale bakress, that foul witch, + The coroneted Fish-Wife of Fiori, + Her Majesty, the Queen! + + FRA. Hush--hush--Carlotta! + You could be put to death for less than that! + + CAR. Not I, my duck. When I am put to death + 'Twill be for more! Oh, I will have her yet + By the hair! [For the first time noticing Fidelio.] + Fidelio, if you breathe one word + Of this, I will scratch the Princess into ribbons, + Whom you love better than your wit. + + FID. I' faith, + I did but hear you say you are a fish-wife, + And all the world knows that. + + LAU. Fear not, Carlotta, + He is as dumb as a prophet. Every second word + He utters, eats the one before it. Speak, + But softly. + + CAR. Nay,'tis nothing.--Nay, by my head, + It is a townful! 'Tis the way she has + Of saying "that should be done like this, and this + Like that!" The woman stirs me to that point + I feel like a carrot in a stew,--I boil so + I bump the kettle on all sides! + + LAU. My dear, + Were you as plump as I you would not dare + Become so angry. It would make your stays creak. + + CAR. Well, I am done. Fidelio, play me a dirge + To put me in good spirits. Merry music + Is sure to make me sad. + + [Fidelio plays. Pause.] + + CAR. 'Tis curious + A woman like her should have a child like that-- + So gentle and so pretty-mannered. Faith,-- + + FID. Hush! Hush! Here come the prettiest pair of birds + That ever sat together on a bough so close + You could not see the sky between. How now, + Snow-White and Rose-Red! Are you reconciled + One to another? + + [Enter Beatrice and Bianca, with their arms about one another.] + + BIA. Reconciled, Fidelio? + We had not quarrelled! [Laughter from Fidelio and the ladies.] + + BEA. Do not listen to him, + Bianca, 'tis but the jingling of his bells. + + FIDELIO. Do you make a better jest than that + At once, or have the clappers cut from them. + + FID. Alas, alas,--all the good jests are made. + I made them yesterday. + + CAR. If that be true, + You would best become a wise man for a time, + My friend,--there are plenty of wise words not yet said! + + FID. I shall say them all tomorrow. + + LAU. If you do, + You will be stoned to death. + + FID. Not I. No one + Will hear me.--Well, I am off.--I know an old man + Who does not know the road runs past his house; + And yet his bees make honey. [Exit Fidelio.] + + CAR. [Looking after him.] 'Tis the one wise fool + We have among us. + + [Enter Grazia.] + + GRA. Oh, here you are, my ducklings! + Always together, like a beggar and a flea! + I looked for you at lunch-time; I forget now + What for; but then 'twas a matter of more weight + Than laying siege to a city,--la, how time + Does carry one on! An hour is like an ocean, + The way it separates you from yourself!-- + [To Bianca and Beatrice.] What do you find to talk about all day? + + BEA. We do not talk all day. + + CAR. Nay, tis you, Grazia, + That talk all day. + + BEA. We ride, and play at tennis, + And row on the lake-- + + GRA. I know who does the rowing! + + BEA. Nay, not by any means! Bianca rows + Nearly as well as I. + + CAR. And do you ride + Nearly as well as she, Bianca? [All smile.] + + BIA. [Ruefully.] Nay. + + GRA. 'Tis an unkind question. There be few in Fiori + Might answer, "Aye." Her Highness rides like a centaur. + + BIA. I'd never dare to mount the horse she rides. + + BEA. What, Harlequin?--La, he's gentle as a kitten! + Though he's a little young, 'tis true, not settled yet + In his mind. + + LAU. As to his mind, 'twere a small matter, + Were he a bit more settled in his legs! + + BIA. I'm afraid of horses, anyway, they are so much + Bigger than I am. + + BEA. Oh, Bianca, horses + Are just like people! Are you afraid of father?-- + He is bigger than you. + + BIA. Nay. But I'd never dare + Prod him which way to go! + + BEA. Oh, la, I would! + Father, this ditch! This four-foot wall now, father! + And swim the brook beyond! + + FRA. And is there naught + In which Bianca carries off the trophies? + + BEA. [Ruefully.] Ay, there is tennis. + + LAU. She wins from you at tennis? + + BEA. She flays me, Laura. She drags me at her racket + Nine times around the court! + + CAR. Why, how is that?-- + She is not quicker. + + BEA. Nay, but she grows cool + Whilst I grow hot, Carlotta, and freezes me + Ere I can melt her! + + FRA. Is it true, Bianca? + + BIA. 'Tis true I win from her.--Although not always. + + GRA. What did I come here for?--I must go back + To where I started, and think of it again! [Exit Grazia.] + + CAR. [Calling after her.] + Are you sure that you remember where you started? + --The woman hath a head like a sieve. + + LAU. And yet, + You may be sure 'tis nothing more than the thimble + Of the matter she's forgotten. I never knew her + Mislay the thread or the needle of a thing. + + BIA. We must study now, Beatrice, we really must. + We have not opened a book since yesterday. + + LAU. La, as for me, I have not opened a book + Since yesteryear,--I'd rather open a vein! + + CAR. Lessons,--troth, I remember well those lessons. + As for what I learned,--troth, that's a different matter, + + FRA. 'Tis curious; the things that one remembers + Are foolish things. One does not know at all + Why one remembers them. There was a blackbird + With a broken foot somebody found and tamed + And named Euripides!--I can see it now. + + CAR. Some of the silly rhymes we used to write + In the margins of our books, I still remember! + + LAU. And eating sweets behind the covers of them! + + FRA. And faces--faces--faces--and a little game + We used to play, all marching in a row + And singing!--I wish I were a child again. + + BEA. You are not old, Francesca. You are very young. + And very beautiful! + + FRA. I have been beautiful + Too many years to be so very young. + + CAR. How now, Francesca! Would you have it said + You are enamoured of some beardless youth, + That so you see the wrinkles suddenly? + Have done! Have done! + + BIA. Where shall we study, Bice? + + BEA. Indoors. I cannot study out of doors. + + [Exeunt Beatrice and Bianca.] + + LAU. I vow I never knew a pair of lovers + More constant than those two. + + CAR. A pair of lovers? + Marry, I find your figure lacking force! + Since when were lovers true? + + FRA. Oh, peace, Carlotta! + You bear too sharp a weapon against the world,-- + A split tongue full of poison, in a head + That darts at every heel!--I'm going in. [Exit Francesca.] + + LAU. You should not say such things when she is with us, Carlotto. + + CAR. Is the woman in love? + + LAU. In love! + She is so far gone she does not know which way + To sail,--all shores are equally out of sight. + + [Exeunt Laura and Carlotta.] + + [Music off stage. Enter Fidelio, singing.] + + FID. "What was I doing when the moon stood above? + What did I do? What did I do? + I lied to a lady that had given me her love,-- + I swore to be true! I swore to be true!" + + [He picks up from the grass a white scarf which Beatrice was + wearing, and which slipped from her shoulders unnoticed as she + went out.] + + FID. My mistress! + + [He thrusts the scarf under his cloak and continues his song, + just as Guido enters from another direction.] + + FID. "And what was I doing when the sun stood above? + What did I do? What did I do?--" + + GUI. By my sacred word, Fidelio, I do not like your song. + + FID. Faith, and small wonder!--It is a song that sets the evil eye + To staring in upon itself. + + GUI. [Stopping in his walk.] What mean you by that, my throaty friend? + + FID. I mean to say + That, taking it all in all and by and large, + You do not care for music. + + GUI. I do not care + For yours, but it is possible Apollo + Had a better tenor. I never heard him sing. + + FID. Nay, and how could you?--He died when you were born! + + GUI. He died, that is, in giving birth to me? + + FID. Aye, if you like,--you bear as much resemblance + To him as to your mother's husband, surely. + + GUI. Take care, Fidelio! + + FID. [Lightly] So! Then it angers you + Apollo should be deemed your sire! I told you + [Sadly.] You did not care for music! + + GUI. You are a sly fool, + My merry friend. What hide you under the cloak? + + FID. Why, 'tis a little patch of snow the sun + Would lay too hot a hand on. + + GUI. By my life,-- + And what are you that you can keep the sun + From shining where it will? + + FID. Why, by your life,-- + And a foul oath it is!--why, by your life, + I am a cloud,--that is an easy riddle. + + + + Scene 2 + + [Scene: A garden with a fountain, at Fiori. Beatrice + and Bianca sitting side by side on a low step. Evening.] + + BEA. How beautiful it is to sit like this, + Snow-White,--to think of much, and to say little. + + BIA. Ay, it is beautiful. I shall remember + All my life long these evenings that we spent + Sitting just here, thinking together. [Pause.] Rose-Red, + It is four years today since first we met. + Did you know that? + + BEA. Nay, is it? + + BIA. Four years today. + I liked you from the moment that I saw you, + Beatrice! + + BEA. I you, Bianca. From the very moment! + I thought you were the prettiest little girl + That I had ever seen. + + BIA. I was afraid + Of you, a little, at first,--you were a Princess, + You see. But you explained that being a Princess + Was much the same as anything else. 'Twas nice, + You said, when people were nice, and when they were not nice + 'Twas hateful, just the same as everything else. + And then I saw your dolls, and they had noses + All scratched, and wigs all matted, just like mine, + Which reassured me even more!--I still, though, + Think of you as a Princess; the way you do things + Is much more wonderful than the way I do them!-- + The way you speak to the servants, even the way + You pick up something that you drop. + + BEA. You goose! + 'Tis not because I'm a princess you feel that way-- + I've always thought the same thing about you!-- + The way you draw your gloves on is to me + More marvelous than the way the sun comes up! + + [They both burst out laughing.] + + BEA. Oh, lud,--how droll we are! + + BIA. Oh, I shall die + Of laughing! Think you anyone else, Rose-Red, + Was ever half so silly? + + BEA. I dare wager + There be a thousand, in this realm alone, + Some even sillier! + + BIA. Here comes Fidelio! [Enter Fidelio.] + + BEA. Fidelio, sing to us,--there is no nightingale + Abroad tonight, save you. And the night cries + For music! + + BIA. Sing, Fidelio! + + FID. I have no thorn + To lean my breast on. I've been happy all day, + And happiness ever made a crow of me. + + BEA. Sing, none the less,--unless you have a cold, + Which is a singer's only rock of refuge. + You have no cold, or you would not be happy. + So sing. + + FID. [Singing.] "Oh, little rose-tree, bloom! + Summer is nearly over. + The dahlias bleed and the phlox is seed, + Nothing's left of the clover, + And the path of the poppy no one knows,-- + I would blossom if I were a rose! + + Summer for all your guile + Will brown in a week to autumn, + And launched leaves throw a shadow below + Over the brook's clear bottom, + And the chariest bud the year can boast + Be brought to bloom by the chastening frost! + Oh, little rose-tree, bloom!" + + [As he finishes the song Fidelio goes out, softly strumming + the last chords. Bianca and Beatrice did sit quite + still for a moment.] + + BIA. Do you know what I am thinking, Bice? + + BEA. You're wondering where we'll be ten years from now, + Or something of that nature. + + BIA. Ay, I was wondering + Which would be married first, and go away, + And would we still be friends. + + BEA. Oh, do you doubt it, + Snow-White? + + BIA. Nay, nay,--I doubt it not, my dear,-- + But I was wondering. I am suddenly sad, + I know not why. I do not wish to leave you + Ever. + + BEA. I know. I cannot bear + To think of parting. We have been happy these four years + Together, have we not? + + BIA. Oh, Beatrice! [She weeps.] + + BEA. Nay, do not weep!--Come, you must go to bed. + You are tired tonight. We rode too far today. + + [She draws Bianca's head down to her shoulder.] + + Oh, you are tired, tired, you are very tired. + You must be rocked to sleep, and tucked in bed, + And have your eyelids kissed to make you dream + Of fairies! Come, dear, come. + + BIA. Oh, I do love you, + Rose-Red! You are so sweet! Oh, I do love you + So much!--so much! I never loved anyone + The way that I love you! There is nobody + In all the world so wonderful as you! + + [She throws her arms about Beatrice and clings to her.] + + + + Scene 3 + + [A room in the palace at Fiori. Lorenzo and Beatrice playing + chess. Twilight.] + + LOR. You'll not be able to get out of that, + I think, my girl, with both your castles gone. + + BEA. Be not so sure!--I have a horse still, father, + And in a strong position: if I move him here, + You lose your bishop; and if you take my bishop, + You lose your queen. + + LOR. True, but with my two rooks + Set here, where I can push them back and forth, + My king is safe till worms come in and eat him. + + BEA. What say you then to this?--Will you take this pawn, + Or will you not? + + LOR. [Studying the board.] Od's bones!--where did that come from? + + [Enter Octavia.] + + OCT. La, would you lose your eyesight, both of you?-- + Fumbling about those chessmen in the dark? + You, Beatrice, at least, should have more wit! + + LOR. "At least"--hm!--Did you hear her say, "at least," + Bice, my daughter? + + BEA. Ay. But it is true + The twilight comes before one knows it. + + LOR. Ay. + 'Tis true, but unimportant. Nevertheless, + I am a tractable old fellow.--Look you, + I will but stay to map the lay of the pieces + Upon this bit of letter. 'Tis from a king + Who could not tell the bishop from the board,-- + And yet went blind at forty.--A little chess + By twilight, mark you, and all might have been well. + + [Enter Bianca.] + + BIA. Oh,--I've been looking everywhere for you? + + OCT. [Drily.] For me? + + BIA. Nay, mother,--for Beatrice. Bice, + The rose is out at last upon that bush + That never blossomed before,--and it is white + As linen, just as I said 'twould be! + + BEA. Why, the bud + Was redder than a radish! + + BIA. Ay, I know. + But the blossom's white, pure white. Come out and see! + [Politely.] Would you like to see it, mother? + + OCT. Nay, not now, child. + Some other time. + + BEA. Father, we'll end the game + Tomorrow; and do you not be scheming at it + All night! + + LOR. Nay, I will not unfold the chart. + + BEA. But you remember well enough without; + Promise me not to think of it. + + LOR. I' faith, + You are a desperate woman. Ay, I promise. + + [Exeunt Bianca and Beatrice. Octavia seats herself. Pause.] + + OCT. I tell you, as I've told you often before, + Lorenzo, 'tis not good for two young girls + To be so much together! + + LOR. As you say, + Octavia. For myself, I must confess + It seems a natural thing, enough, that youth + Should seek out youth. And if they are better pleased + Talking together than listening to us, + I find it not unnatural. What have we + To say to children?--They are as different + From older folk as fairies are from them. + + OCT. "Talking together," Lorenzo! What have they + To talk about, save things they might much better + Leave undiscussed?--you know what I mean,--lovers, + And marriage, and all that--if that is all! + One never knows--it is impossible + To hear what they are saying; they either speak + In whispers, or burst out in fits of laughter + At some incredible nonsense. There is nothing + So silly as young girls at just that age.-- + At just Bianca's age, that is to say. + As for the other,--as for Beatrice, + She's older than Bianca, and I'll not have her + Putting ideas into my daughter's head! + + LOR. Fear not, my love. Your daughter's head will doubtless, + In its good time, put up its pretty hair, + Chatter, fall dumb, go moping in the rain, + Be turned by flattery, be bowed with weeping, + Grow grey, and shake with palsy over a staff,-- + All this, my love, as empty of ideas + As even the fondest mother's heart could wish. + + OCT. You mock me, sir? + + LOR. I am but musing aloud, + As is my fashion.--And indeed, my dear, + What is the harm in lovers-and-all-that + That virtuous maidens may not pass the time + With pretty tales about them?--After all, + Were it not for the years of looking forward to it + And looking back upon it, love would be + Only the commonest bird-song in the hedge,-- + And men would have more time to think,--and less + To think about. + + OCT. That may be. But young girls + Should not be left alone too much together. + They grow too much attached. They grow to feel + They cannot breathe apart. It is unhealthy. + + LOR. It may be true. But as for me, whom youth + Abandoned long ago, I look on youth + As something fresh and sweet, like a young green tree, + Though the wind bend it double.--'Tis you, 'tis I, + 'Tis middle age the fungus settles on. + + OCT. Your head is full of images. You have + No answers. I shall do as I spoke of doing, + And separate them for a little while, + Six months, maybe a year. I shall send Bianca + Away within a fortnight. That will cure them. + I know. I know. Such friendships do not last. + + CURTAIN + + + + +ACT II + + Scene 1--Four months later. + + [Scene: A garden, near the palace at Fiori. The young Duke + Guido is discovered standing with one foot resting on a + garden-bench, looking off, lost in thought. Enter Giovanni.] + + GIO. That is a merry face you wear, my Guido! + Now that the young King Mario visits the court + And walks all morning in the woods with the Princess, + Or gives her fencing lessons,--upon my word, + You are as gay as a gallows! + + GUI. She is never + Alone with him. Laura--Carlotta--someone + Is always there. + + GIO. Ah--ah--but even so, + No matter who is there, I tell you, lovers + Are always alone! + + GUI. Why do you say these things, + Giovanni? + + GIO. Because I love you, you lean wolf, + And love to watch you snuff the air. My friend, + There was a time I thought it all ambition + With you, a secret itching to be king-- + And not so secret, either--an open plot + To marry a girl who will be Queen some morning. + But now at times I wonder. You have a look + As of a man that's nightly gnawed by rats, + The very visage of a man in love. + Is it not so? + + GUI. I do not know, Giovanni. + I know I have a passion in my stomach + So bitter I can taste it on my tongue. + She hates me. And her hatred draws me to her + As the moon draws the tide. + + GIO. You are like a cat-- + There never was a woman yet that feared you + And shunned you, but you leapt upon her shoulder! + Well, I'll be off. The prettiest girl in Fiori,-- + Unless it be Her Highness, waits for me + By a fountain. All day long she sells blue plums, + And in the evening what she has left of them + She gives to me! You should love simply, Guido, + As I do. [Exit Giovanni.] + + [Guido sits on the bench and drops his head in hand. + Enter Francesca.] + + FRA. [Softly.] Guido! Guido! + + GUI. Who calls me? + + FRA. Guido! + + GUI. Francesca! Why do you follow me here? + You know I do not wish to see you! + + FRA. Do not be angry. + 'Tis half a week since you have spoken to me, + And over a week since you have so much as laid + Your hand upon my arm! And do you think, + Loving you as I do, I can do without you, + Forever, Guido, and make no sign at all? + I know you said you did not wish to see me + Ever again,--but it was only a quarrel-- + And we have quarreled before! + + GUI. It was not a quarrel. + I am tired of you, Francesca. You are too soft. + You weep too much. + + FRA. I do not weep the less + For having known you. + + GUI. So;--it will save you tears, then + To know me less. + + FRA. Oh, Guido, how your face + Is changed,--I cannot think those are the eyes + That looked into my eyes a month ago! + What's come between us? + + GUI. Nothing has come between us. + It is the simple snapping of a string + Too often played upon. + + FRA. Ah!--but I know + Who snapped it! It will do you little good + To look at her,--she'll never look at you! + + GUI. Be silent a moment!--Unless you would be silent + Longer! + + FRA. Indeed! I shall speak out my mind! + You go beyond yourself! There is proportion + Even in a nature like my own, that's twisted + From too much clinging to a crooked tree! + And this is sure: if you no longer love me, + You shall no longer strike me! + + MARIO. [Off stage.] Beatrice! + Wait for me! Wait! + + BEA. [Off stage.] Not I! Who does not run? + As fast as I run, shall be left behind me! + + GUI. They are coming here! I do not wish to see them! + + FRA. Oh, Guido! [She follows him off. Exeunt Guido and Francesca.] + + [Enter Beatrice, running, followed by Mario.] + + MAR. Beatrice, you run like a boy! + You whistle like a boy! And upon my word, + You are the only girl I ever played + At jousting with, that did not hold her sword + As if it were a needle! Which of us, + Think you, when we are married, will be King? + + BEA. When we are married! Sir, I'll have you know + There's an ogre to be tamed, a gem to be pried + From out a dragon's forehead, and three riddles + To be solved, each tighter than the last, before + A Princess may be wed! + + MAR. Even by a King? + + BEA. For Kings the rules are sterner!--One more riddle, + And a mirror that will show her always young. + + MAR. And if I do these things, then, will you have me, + Rose-Red? + + BEA. Maybe. And if you do not do them, + Maybe. Come--I will race you to the bridge! + + MAR. [Catching her hand,] Nay, not so fast!--Have you no wish to be + Beside me, ever, that you are forever running + Ahead? + + BEA. Indeed, if you would have the truth + It has come into my mind more times than once + It would be sweet to be beside you often. + + MAR. Rose-Red! + + BEA. Come--I will race you to the bridge! + + [Exeunt Beatrice and Mario.] + + + + Scene 2 + + [Court-yard of the palace at Fiori. Entire court assembled. + A band of strolling players, with a little stage + on wheels, are doing a Harlequinade pantomime to amuse + the young King Mario, the guest of honor. Beatrice sits + beside him. In this scene the two people who are oblivious + to the pantomime are Guido and Octavia. Guido is + apparently brooding over something. From time to time + he looks at Beatrice and Mario. Once, having gazed for + some moments at the pair, he looks at Octavia and sees + that she, too, is looking at them, which seems to satisfy + him. The Queen does not take her eyes from the two during + the entire scene. Beatrice and Mario do not conduct + themselves precisely as lovers, but they are very gay and + happy to be in each other's company, apparently. Lorenzo + watches the show with a benign, almost childish + interest.] + + [Pantomime begins.] + + GIO. You, Pierrot, are you not a little thick + For such a sorrowful fellow? + + PIERROT. Nay, indeed! + Sorrow may come to all. And 'tis amazing + How much a man may live through and keep fat. + + [Pantomime continues] + + CAR. Ho! Now he stumbles! Look you, Pantaloon, + If you were not so learned i' the head + You might know better where to put your feet! + + LAU. [To Carlotta.] 'Tis curious how it addles a man's bones + To think too much. + + CAR. Nay, truth. Wise men were ever + Awkward in the legs. + + [Pantomime continues.] + + RAFFAELE. Have at him, Polichinello. + + GIO. Lay on! Lay on! + + ANS. Leave not a nail of him! + + GIO. Dog! Would you have him write a book about you? + + LUIG. Spit him i' the liver! It is his only organ! + + BEA. [To Mario.] Nay, it is cruel. I cannot look at it. + + MAR. It is but play. + + BEA. Ay, but 'tis cruel play. + To be so mocked at!--Come, take heart, good Doctor! + 'Tis a noisy fellow, but light withal!--Blow at him! + + GIO. [To Guido.] She has the softest heart that ever + I saw + In a hard woman. It may be, seeing she has pity + For one rogue, she has pity for another! + Mark you, my Guido, there is hope yet! + + GUI. Nay, + There's not. I have opened up my mind to her, + And she will none of me. + + GIO. [Jestingly.] That was the last thing + You should have done!--Speak,--did she give for answer + She loves the King? + + GUI. Not she. She gave for answer + She does not love the Duke. + + [Pantomime continues.] + + ANS. [To Colombine.] Ah, pretty lady! + + CAR. La, she is fickle! How she turns from one face + To another face,--and smiles into them all! + + FRAN. Oh, ay, but' tis the Pierrot that she loves. + + [Pantomime continues and comes to a close.] + + [All applaud.] + + LUIGI. Well done! + + ANS. Bravo! + + GIO. A monstrous lively play! + + BEA. Oh, is it over?--I would it were not over! + + MAR. And yet it pleased you not! + + BEA. When it pleased me not, + I looked at you. + + MAR. And when I pleased you not--? + + BEA. I looked at Harlequin. However, I saw him + But fleetingly. Pray, was he dark or fair? + + LUIGI. Laura! + + LAU. Who calls? La, it is only Luigi! + + LUIGI. Laura, there'll be a moon tonight. + + LAU. I' faith, + There was a moon last night. [She sighs.] + + LUIGI. At ten o'clock, + Were I by a certain gate, would you be there? + What say you? + + LAU. Ay,--if weariness overtook me, + And I could not get further! + + CAR. La, 'tis sun-down! + + [In the meantime the crowd has been breaking up and dispersing. + The curtain falls on the disappearing spectators and on Pierrot + and his troupe packing up their wagon to go to the next town.] + + + + Scene 3 + + [Fiori. A garden with a fountain. Evening.] + [Enter Octavia and Ladies.] + + OCT. It would amuse me if I had a lily + To carry in my hand. You there, Carlotta! + You have a long arm,--plunge it in the pool + And fish me forth a lily! + + CLAUDIA. Majesty, + They close at night. + + OCT. Well--we will open them. + + CAR. [Going to pool and scanning it.] Go to--I am not a frog! + + OCT. What did you say? + + ARIANNA. She says she sees a frog, Your Majesty. + + FRAN. [Aside to Carlotta.] + You are mad! Can you not keep your tongue in your head? + + CAR. Ay, I can keep it in my cheek.--There's one. + God grant it have an eel at the end of it,-- + I'll give the dame good measure. + + [While the ladies are at the pool enter Guido.] + + GUIDO. Greeting, madam! + + OCT. Who greets me?--Ah, it is the Duke. + Good even, Guido. You seek an audience with me? + + GUIDO. Nay--nay--but if you send away your women,-- + We shall be more alone. + + OCT. [After considering him a moment.] You may leave me now, + Laura, Francesca--all of you--and you would best go in + At an early hour, instead of walking the gardens + All night; I would have you with your wits + About you in the morning. + + LAU. [Aside.] Oh, indeed? + You would best go in yourself, lest the dew rust you, + You sauce-pan! [Exeunt ladies.] + + OCT. Now, my good sir,--you may speak. + + GUI. [As if by way of conversation.] + It is a long time, is it not, your daughter + Is absent from the court? + + OCT. Why say you that? + + GUI. Why but to pass the time, till she returns? + + OCT. Nay, Guido. That is well enough for some, + But not for me. I know the slant of your fancy; + 'Tis not in that direction. + + GUI. Yet me thinks + The sooner she is back again at court + The happier for us both. + + OCT. "Us both?" What "both?" + + GUI. You Madam, and myself. + + OCT. And why for me? + + GUI. [Carefully.] Why, are you not her mother? + + OCT. Hah! [Pause.] Guido, + What festers in your mind? Do you speak out now, + If you await some aid from me. + + GUI. Madam, + I have but this to say: if I were a woman + With a marriageable daughter, and a King rode by, + I'd have her at the window. + + OCT. So. I thought so. + + [With an entire change of manner.] + + Guido, what think you,--does she love the King,-- + I mean Lorenzo's daughter? + + GUI. [Between his teeth.] Ay, she loves him. + + OCT. And loves he her? + + GUI. Oh, ay. He loves the moon, + The wind in the cypress trees, his mother's portrait + At seventeen, himself, his future children-- + He loves her well enough. But had she blue eyes + And yellow hair, and were afraid of snakes, + He yet might love her more. + + OCT. You think so, Guido? + I am content to learn you of that mind. + There had occurred to me--some time ago, + In fact--a similar fancy. And already + My daughter is well on her way home. + + [Exeunt Guido and Octavia.] + + [Music, Enter Beatrice and Fidelio. Fidelio strums his lute + softly throughout the next conversation, up to the words + "and cease to mock me."] + + BEA. Fidelio, + Were you ever in love? + + FID. I was never out of it. + + BEA. But truly? + + FID. Well. I was only out of it + What time it takes a man to right himself + And once again lose balance. Ah, indeed, + 'Tis good to be in love, I have often noticed, + The moment I fall out of love, that moment + I catch a cold. + + BEA. Are you in love, then, now? + + FID. Ay, to be sure. + + BEA. Oh! Oh! With whom, Fidelio? + Tell me with whom! + + FID. Why, marry, with yourself,-- + That are the nearest to me,--and by the same troth, + The farthest away. + + BEA. Go to, Fidelio! + I am in earnest, and you trifle with me + As if I were a child. + + FID. Are you not a child, then? + + BEA. Not any more. + + FID, How so? + + BEA. I am in love. + + FID. Oh--oh--oh, misery, misery, misery, misery! + + BEA. Why do you say that? + + FID. Say what? + + BEA. "Misery, misery." + + FID. It is a song. + + BEA. A song? + + FID. Ay, 'tis a love-song. + Oh, misery, misery, misery, misery, oh! + + BEA. Nay, sweet Fidelio, be not so unkind! + I tell you, for the first time in my life + I am in love! Do you be mannerly now, + And cease to mock me, + + FID. What would you have me do? + + BEA. I would have you shake your head, and pat my shoulder, + And smile and say, "Godspeed." + + FID. [Doing so very tenderly.] Godspeed. + + BEA. [Bursting into tears.] I do not know if I am happy or sad. + But I am greatly moved. I would Bianca + Were here. I never lacked her near so much + As tonight I do, although I lack her always. + She is a long time gone.--If I tell you something, + Will you promise not to tell. + + FID. Nay, I'll not promise, But I'll not tell. + + BEA. Fidelio, I do love so + The King from Lagoverde! I do so love him! + + FID. Godspeed, Godspeed. + + BEA. Ay, it is passing strange; + Last week I was a child, but now I am not. + And I begin my womanhood with weeping; + I know not why.--La, what a fool I am! + 'Tis over. Sing, Fidelio. + + FID. Would you a gay song, My Princess? + + BEA. Ay.--And yet--nay, not so gay. + A simple song, such as a country-boy + Might sing his country-sweetheart.--Is it the moon + Hath struck me, do you think? I swear by the moon + I am most melancholy soft, and most + Outrageous sentimental! Sing, dear fool. + + FID. [Singing.] + "Butterflies are white and blue + In this field we wander through. + Suffer me to take your hand. + Death comes in a day or two. + All the things we ever knew + Will be ashes in that hour. + Mark the transient butterfly, + How he hangs upon the flower. + Suffer me to take your hand. + Suffer me to cherish you + Till the dawn is in the sky. + Whether I be false or true, + Death comes in a day or two." + + CURTAIN + + + + +ACT III + + Scene 1--The following summer, + + [A field or meadow near Fiori. As the curtain rises voices are heard + off-stage singing a bridal song.] + + SONG: Strew we flowers on their pathway! + Bride and bride-groom, go you sweetly. + There are roses on your pathway. + Bride and bride-groom, go you sweetly. + Sweetly live together. + + [Enter Viola, Lilina, Lela, Arianna and Claudia, laden with + garlands, flowering boughs and baskets of flowers. They met + Anselmo coming from another direction, also bearing flowers.] + + VIO. How beautiful, Anselmo! Where did you find them? + + ANS. Close by the brook. + + LIL. You gathered all there were? + + ANS. Not by one hundredth part. + + LEL. Nay, is it true? + We must have more of them! + + ARI. And are they fragrant + As well? + + ANS. Ay, by my heart, they are so sweet + I near to fainted climbing the bank with them. + + [The ladies cluster about Anselmo and smell the flowers.] + + LIL. Oh! + + VIO. Ah! + + CLA. How drowsily sweet! + + LEL. Oh, sweet! + + ARI. What fragrance! + + [Enter Laura and Giovanna, followed by Carlotta and Raffaele.] + + LAU. La, by my lung! I am as out of breath + As a babe new-born! Whew! Let me catch the air! + + [She drops her flowers and seats herself beside them.] + + CAR. [to the younger ladies and Anselmo, by way of greeting.] + How hot the sun is getting. + + ANS. 'Tis nigh noon, I think. + + GIO. 'Tis noon. + + CLA. We must be starting back. + + LAU. Not till I get my breath. + + RAF. Come,--I will fan you. [He fans her with a branch,] + + LAU. Tis good--'tis very good--oh, peace--oh, slumber-- + Oh, all good things! You are a proper youth. + You are a zephyr. I would have you fan me + Till you fall dead. + + CAR. I tell you when it comes + To gathering flowers, much is to be said + For spreading sheets on the grass,--it gives you less + The backache. + + LAU. Nobly uttered, my sweet bird. + + GIO. Yet brides must have bouquets. + + CAR. And sit at home, + Nursing complexions, whilst I gather them, + + LIL. [Running to Carlotta, along, with Lela and Viola, and throwing her + arms about her.] + Nay, out upon you now, Carlotta! Cease now + To grumble so,--'tis such a pretty day! + + VIO. And weddings mean a ball! + + LEL. And one may dance all night + At weddings! + + LIL. Till one needs must dance to bed, + Because one cannot walk there! + + GIO. And one eats + Such excellent food! + + ANS. And drinks such excellent wine! + + CLA. And seldom will you see a bride and bridegroom + More beautiful and gracious, or whom garlands + Do more become. + + GIO. 'Tis so,--upon my sword!-- + Which I neglected to bring with me--'tis so, + Upon Anselmo's sword! + + CAR. Nay, look you, Laura! + You must not fall asleep! [to Raffaele] Have done, you devil! + Is it a poppy that you have there? [to Laura] Look you, + We must be starting back! [Laura rouses, then falls back again.] + + LAU. Ay, that we must. + + ARI. Where are the others? + + ANS. Scattered all about. + I will call to them. Hola! You fauns and dryads! + Where are you? + + VOICES. Here! Here! Is it time to go? + + ANS. Come this way! We are starting back! + + VOICES. We are coming! + We'll come in a moment! I cannot bear to leave + This place! + + GIO. [As they enter] A thousand greetings, Clara! + Lucia, a thousand greetings! How now, Luigi! + I know you, man, despite this soft disguise! + You are no flower-girl! + + LUI. I am a draught-horse, + That's what I am, for four unyielding women! + Were I a flower-girl, I'd sell the lot + For a bit of bread and meat--I am so hungry + I could eat a butterfly! + + CAR. What ho. Francesca! + I have not seen you since the sun came up! + + FRA. This is not I,--I shall not be myself + Till it goes down! + + LEL. Oh, la, what lovely lilies! + + FRA. Be tender with them--I risked my life to get them! + + LIL. Where were they? + + FRA. Troth, I do not know. I think + They were in a dragon's mouth. + + LAU. [Suddenly waking] Well, are we going? [All laugh.] + + LUI. No one is going that cannot go afoot. + I have enough to carry! + + LAU. Nay; take me too! + I am a little thing. What does it matter-- + One flower more? + + LUI. You are a thousand flowers, + Sweet Laura,--you are a meadow full of them-- + I'll bring a wagon for you. + + CAR. Come. Come home. + + [In the meantime the stage has been filling with girls and men + bearing flowers, a multitude of people, in groups and couples, + humming the song very softly. As Carlotta speaks several more + people take up the song, then finally the whole crowd. They move + off slowly, singing.] + + SONG. "Strew we flowers on their pathway," etc. + + + Scene 2 + + [Bianca's boudoir in the palace at Fiori. Bianca with a mirror in + her hand, having her hair done by a maid. Several maids about, + holding perfume-flasks, brushes, and veils, articles of apparel of + one sort or another. Beatrice standing beside her, watching.] + + BIA. Look at me, Rose-Red. Am I pretty enough, + Think you, to marry a King? + + BEA. You are too pretty. + There is no justice in it. Marry a cobbler + And make a king of him. It is unequal,-- + Here is one beggarly boy king in his own right, + And king by right of you. + + BIA. Mario is not + A beggarly boy! Nay, tell me truly, Beatrice, + What do you think of him? + + BEA. La, by my soul! + Have I not told you what I think of him + A thousand times? He is graceful enough, I tell you, + And hath a well-shaped head. + + BIA. Nay, is that all? + + BEA. Nay, hands and feet he hath, like any other. + + BIA. Oh, out upon you for a surly baggage! + Why will you tease me so? You do not like him, + I think. + + BEA. Snow-White! Forgive me! La, indeed, + I was but jesting! By my sacred word, + These brides are serious folk. + + BIA. I could not bear + To wed a man that was displeasing to you. + Loving him as I do, I could not choose + But wed him, if he wished it, but 'twould hurt me + To think he did not please you. + + BEA. Let me, then, + Set your sweet heart at rest. You could not find + In Christendom a man would please me more. + + BIA. Then I am happy. + + BEA. Aye, be happy, child. + + BIA. Why do you call me child? + + BEA. Faith, 'tis the season + O' the year when I am older than you. Besides + A bride is always younger than a spinster. + + BIA. A spinster! Do you come here to me, Rose-Red, + Whilst I pinch you smartly! You, Arianna, push me + Her Highness over here, that I may pinch her! + [To Loretta.] Nay, is it finished? Aye, 'tis very well. + Though not so well, Loretta, as many a day + When I was doing nothing!--Nay, my girl, + 'Tis well enough. He will take me as I am + Or leave me as I was.--You may come back + In half an hour, if you are grieved about it, + And do it again. But go now,--all of you. + I wish to be alone. [To Beatrice.] Not you. + + [Exeunt all but Bea. and Bia.] + + Oh, Rose-Red, + I trust 'twill not be long before I see you + As happy as you see me now! + + BEA. Indeed, + I could not well be happier than I am. + You do not know, maybe, how much I love you. + + BIA. Ah, but I do,--I have a measure for it! + + BEA. Ay, for today you have. But not for long. + They say a bride forgets her friends,--she cleaves so + To her new lord. It cannot but be true. + You will be gone from me. There will be much + To drive me from your mind. + + BIA. Shall I forget, then, When I am old, I ever was a child? + I tell you I shall never think of you + Throughout my life, without such tenderness + As breaks the heart,--and I shall think of you + Whenever I am most happy, whenever I am + Most sad, whenever I see a beautiful thing. + You are a burning lamp to me, a flame + The wind cannot blow out, and I shall hold you + High in my hand against whatever darkness. + + BEA. You are to me a silver bell in a tower. + And when it rings I know I am near home. + + Scene 3 + + [A room in the palace. Mario alone. Enter Beatrice.] + + BEA. Mario! I have a message for you!--Nay, + You need not hang your head and shun me, Mario, + Because you loved me once a little and now + Love somebody else much more. The going of love + Is no less honest than the coming of it. + It is a human thing. + + MAR. Oh, Beatrice! + What can I say to you? + + BEA. Nay, but indeed. + Say nothing. All is said. I need no words + To tell me you have been troubled in your heart, + Thinking of me. + + MAR. What can I say to you! + + BEA. I tell you, my dear friend, you must forget + This thing that makes you sad. I have forgotten, + In seeing her so happy, that ever I wished + For happiness myself. Indeed, indeed, + I am much happier in her happiness + Than if it were my own; 'tis doubly dear, + I feel it in myself, yet all the time + I know it to be hers, and am twice glad. + + MAR. I could be on my knees to you a lifetime, + Nor pay you half the homage is your due. + + BEA. Pay me no homage, Mario,--but if it be + I have your friendship, I shall treasure it. + + MAR. That you will have always. + + BEA. Then you will promise me + Never to let her know. I never told her + How it was with us, or that I cherished you + More than another. It was on my tongue to tell her + The moment she returned, but she had seen you + Already on the bridge as she went by, + And had leaned out to look at you, it seems, + And you were looking at her,--and the first words + She said, after she kissed me, were, "Oh, sister, + I have looked at last by daylight on the man + I see in my dreams!" + + MAR. [Tenderly.] Did she say that? + + BEA. [Drily.] Ay, that + Was what she said.--By which I knew, you see, + My dream was over,--it could not but be you. + So that I said no word, but my quick blood + Went suddenly quiet in my veins, and I felt + Years older than Bianca. I drew her head + Down to my shoulder, that she might not see my face, + And she spoke on, and on. You must not tell her, + Even when you both are old, and there is nothing + To do but to remember. She would be withered + With pity for me. She holds me very dear. + + MAR. I promise it, Rose-Red. And oh, believe me, + I said no word to you last year that is not + As true today! I hold you still the noblest + Of women, and the bravest. I have not changed. + Only last year I did not know I could love + As I love now. Her gentleness has crept so + Into my heart, it never will be out. + That she should turn to me and cling to me + And let me shelter her, is the great wonder + Of the world. You stand alone. You need no shelter, + Rose-Red. + + BEA. It may be so. + + MAR. Will you forgive me? + + BEA. I had not thought of that. If it will please you, + Ay, surely.--And now, the reason for my coming: + I have a message for you, of such vast import + She could not trust it to a liv'ried page, + Or even a courier. She bids me tell you + She loves you still, although you have been parted + Since four o'clock. + + MAR. [Happily.] Did she say that? + + BEA. Ay, Mario. + I must return to her. It is not long now + Till she will leave me. + + MAR. She will never leave you, + She tells me, in her heart. + + BEA. [Happily.] Did she say that? + + MAR. Ay, that she did, and I was jealous of you + One moment, till I called myself a fool. + + BEA. Nay, Mario, she does not take from you + To give to me; and I am most content + She told you that. I will go now. Farewell, + Mario! + + MAR. Nay, we shall meet again, Beatrice! + + + Scene 4 + + [The ball-room of the palace at Fiori, raised place in back, + surmounted by two big chairs, for Lorenzo and Octavia to sit while + the dance goes on. Dais on one side, well down stage, in full sight + of the audience, for Mario and Bianca. As the curtain rises the + stage is empty except for Fidelio, who sits forlornly on the bottom + steps of the raised place in the back of the stage, his lute across + his knees, his head bowed upon it. Sound of laughter and + conversation, possibly rattling of dishes, off stage, evidently a + feast going on.] + + LAU. [Off stage.] Be still, or I will heave a plate at you! + + LUIGI. [Off stage.] Nay, gentle Laura, heave not the wedding-crockery, + At the wedding-guest! Behold me on my knees + To tell the world I love you like a fool! + + LAU. Get up, you oaf! Or here's a platter of gravy + Will add the motley to your folly! + + LUIGI. Hold her, + Some piteous fop, that liketh not to see + Fine linen smeared with goose! Oh, gracious Laura, + I never have seen a child sucking an orange + But I wished an orange, too. This wedding irks me + Because 'tis not mine own. Shall we be married + Tuesday or Wednesday? + + LAU. Are you in earnest, Luigi? + + LUIGI. Ay, that I am, if never I was before. + + LAU. La, I am lost! I am a married woman! + Water!--Nay, wine will do! On Wednesday, then. + I'll have it as far off as possible. + + [Enter from banquet-room Guido, Giovanni and Raffaele.] + + GIO. Well met, Fidelio! Give us a song! + + FID. Not I! + + GUI. Why, is this? You, that are dripping with song + Weekdays, are dry of music for a wedding? + + FID. I have a headache. Go and sit in a tree, + And make your own songs. + + RAF. Nay, Fidelio. + String the sweet strings, man! + + GIO. Strike the pretty strings! + + GUI. Give us the silver strings! + + FID. Nay then, I will that! + + [He tears the strings off the lute and throws them in Guido's face.] + + Here be the strings, my merry gentlemen! + Do you amuse yourselves with tying knots in them + And hanging one another!--I have a headache. + + [He runs off, sobbing.] + + RAF. What ails him, think you? + + GIO. Troth, I have no notion. + + [Enter Nurse.] + + GUI. What ho, good Grazia! I hear my uncle + Is ill again! + + GRA. Where heard you that, you raven? + + GUI. Marry, I forget. Is't true? + + GRA. It is as false + As that you have forgotten where you heard it. + Were you the heir to his power, which I bless God + You're not!--he'd live to hide the throne from you + Full many a long day yet!--Nay, pretty Guido, + Your cousin is not yet Queen,--and when she is--Faith, + She weareth a wide petticoat,--there'll be + Scant room for you beside her! [Exit Nurse across stage] + + GUI. [To his companions.] None the less + I do believe the king is ill. + + RAF. Who told you? + + GUI. His wife. She is much exercised about him. + + GIO. 'Tis like enough. This woman would rather lie + Than have her breakfast served to her in bed. + + [Exeunt Guido, Giovanni and Raffaele.] + + [Music. Enter Musicians and take place on stage. Enter four pages + and take places on either side the door as from the banquet-hall and + on either side the throne in the back. Enter King and Queen, that is + to say Lorenzo and Octavia, Lorenzo apparently quite well, and seat + themselves on throne in back. Enter courtiers and ladies, Carlotta + with Anselmo, Laura with Luigi, etc., and stand in little groups + about the stage, laughing and talking together. Enter Beatrice + alone, her train held by two pages in black. Enter twelve little + Cupids, running, and do a short dance in the center of the room, + then rush to the empty dais which is awaiting Mario and Bianca, and + cluster about it. Enter Bianca and Mario, she in white and silver, + with a deep sky blue velvet train six yards long, held up by six + silver pages [or Cupids]; he in black and gold, with a purple velvet + train of the same length held by six gold pages [or Cupids]. His arm + is about her waist, she is leaning back her head against him and + looking up into his face. They come in slowly, talking softly + together, as utterly oblivious of the court, the pages, the music, + everything, as if they were a shepherd and a shepherdess walking + through a meadow. They walk slowly across the stage and seat + themselves on the dais. The music changes, strikes up a gay pavane, + or the equivalent of the period of the costumes, the ladies and + courtiers dance. Guido, Giovanni and Raffaele re-enter just as the + music starts and go up to the ladies; Guido goes to Beatrice, and + she dances with him. In the midst of the dance Lorenzo slips a + little sidewise in his chair, his head drops forward on his chest; + he does not move again. Nobody notices for some time. The dance + continues, all who are not dancing watching the dancers, save + Octavia, who watches with great pride and affection Bianca and + Mario, who in turn are looking at one another. Octavia turns finally + to speak to Lorenzo, stares at him, touches him, then screams. + Beatrice should then be in a conspicuous place in the dance. Music + stops in confusion on a dischord, dance breaks up wildly, everybody + rushes to throne.] + + + Scene 5 + + [The same room later that evening, entirely empty, disordered. + Musicians' benches overturned, for example, a couple of instruments + left about, garlands trampled on the floor, a wing of one of the + Cupids clinging to the dais of Bianca and Mario. Enter Beatrice, + weeping, goes to her father's throne and creeps up into it, with her + face towards the back of it and clings there, sobbing quietly. Enter + Bianca and Mario,] + + BIA. [Softly.] Ay. She is here. I thought she would be here. + There are so many people by his bed + Even now, she cannot be alone with him. + + MAR. Is there no hope? + + BIA. Nay, there is none. 'Tis over. + He was a kind old man. + + MAR. Come, let us go, + And leave her to herself. + + BIA. Nay, Mario. + I must not leave her. She will sit like that + All night, unless I bid her come away, + And put her into bed. + + MAR. Will you come to me + After she sleeps? + + BIA. Ay. If she sleeps, + + MAR. And if not? + + BIA. I could not leave her. + + MAR. Bianca, do you love me? + + BIA. Ay, Mario! + + MAR. Ah, but not as I love you! + + BIA. You do not mean that, Mario; you know + How much I love you. But I could not be happy + Thinking of her awake in the darkness, weeping, + And all alone. + + MAR. Oh, my sweet love. + + BIA. It may be + She will sleep. + + MAR. I shall be waiting for you. [They embrace.] + + [Exit Mario. Bianca goes to Beatrice and sits at the + foot of the throne, putting her head against Beatrice's + feet.] + + BIA. Sister. + + [After a moment Beatrice slowly reaches down her hand, and + Bianca takes it.] + + CURTAIN + + + + +ACT IV + + Scene 1--Five years later. + + [A marketplace in Fiori, vegetables, fruits and flowers exposed for + sale in little stalls and wagons, crowd of townspeople moving about, + talking, laughing, buying. Group of children playing a game in a + ring. Supper time.] + + CHILDREN. One, two, three, + The dough is in the oven! + One, two, three, + The bread is on the board! + One, two, three. + The dough is in the oven! + One, two, three, + The bread is on the board! + One, two, three, + All follow me! + + EUGENIA. Good-even, Giovanitta. Those are beautiful + Onions you have there. + + GIO. Ay, it has been a good year + For onions. + + EUG. I am taking seven. + + GIO. Each year, + You buy another onion! + + EUG. Faith, each year + I have another mouth to thrust it in! + Beautiful carrots, too, you have. + + GIO. Ay, carrots + Are well enough. One cannot complain. 'Tis a good year + For carrots. + + CLARA. 'Tis a good year for many things. + Prices are low,--but not too low for profit. + + GIULIANA. And there are fewer taxes than there once were + On things one cannot live without. + + ANNA. 'Tis a good Queen + We have, it must be granted. + + GIO. Ay, and a wise one. + + GILDA. And pretty, too. + + GIULIANA. Ho, ho! When did you see her? + + GILDA. This morning, mother. I was at the edge of the wood + With Beppo, when they rode by to the hunt, + Talking together, and laughing. + + BEPPO. [Calling from across the stage.] And the horses + With feet like this! + [Arching his hands and feet to represent a horse stepping delicately.] + + GILDA. And glittering in the sunshine + In a thousand places, mother! I wanted to tell you + When we returned, but you had gone to the brook + With the linen. They were so near us we could hear them + Talking. + + BEPPO. [Coming up.] And hear the horses breathe! + + ANNA. What said they? + + GILDA. Well, one of them said--what was the name? + + BEPPO. Anselmo. + + GILDA. Oh, ay. She said, "Anselmo, am I getting thinner + Do you think? If I be not thinner than I was at starting, + I shall descend at once! I like not this; + It chatters my teeth." + + BEPPO. And then she said-- + + GILDA. What said she? + Oh, ay,--about the boat. + + BEPPO. She said, "Next time + I shall go fishing instead of hunting. A boat + Hath a more mannerly gait!" + + GILDA. There was one horse, mother, + That was all white! There was not one hair upon him + That was not white! + + GIULIANA. And who was riding that horse? + + BEPPO. A man. And riding well. + + GILDA. He was dressed in green, + And had a yellow beard. And there was a lady + With hair the color of Adelina's, bright + Like fire. She was dressed in blue, and was most beautiful. + + BEPPO. And she was mounted on a dappled mare. + + GILDA. But, oh, it was the Queen that was more lovely-- + Than any of the rest! + + GIO. How did you know, now, + It was the Queen? + + GILDA. Nay, but you could not help + But know! She was not laughing like the rest,-- + Just smiling; and I would not have been afraid + To toss a flower to her from the wood, + If I had had a flower. + + BEPPO. You knew her, though, + Because she was in scarlet. All the world knows + She wears a scarlet mantle! + + GILDA. Nay, if that were all, + It might have been the Pope! + + BEPPO. I would it had been. + I never saw the Pope. + + GILDA. You never saw + The Queen until this morning!--Mother, she rides + Clothed like a man, almost! + + BEPPO. With sword at side! + + GILDA. And, oh, the sword had a jeweled--what is the name of it? + + BEPPO. Scabbard, of course! + + GILDA. A jeweled scabbard, mother! + I wish I were a queen. + + BEPPO. Ho, you would make + A proper queen, with that droll nose of yours! + + GILDA. I know a boy who likes my nose! + + BEPPO. Ho, ho! + He must be a hunch-back! + + GIULIANA. You must not tease her, Beppo. + + GILDA. I wish I were queen. If I were a queen, + You would not dare to say my nose is droll. + + BEPPO. It would be, all the same. + + GIO. You should be content + With what you have, not cry to rise beyond it. + It is a sin to covet. + + GIULIANA. Being a queen, + My bird, is not all riding to the hunt + Of a sunny morning. + + ANNA. Nay, 'tis riding back + At times, of a rainy night, to such a burden + Of cares as simple folk have little mind of. + + GILDA. I'd rather have a queen's cares than my own. + + BEPPO. Ho, ho! Your cares! What cares have you? + + GILDA. I have + A brother that will be teasing me all times! + 'Tis cares enough for one, I tell you. + + ADELINA. [Across stage.] Beppo! + Come help me fetch the milk! + + GILDA. Oh, Mister Beppo, + Your sweetheart calls you! Run and fetch the milk! + + LEONORA. [From a house, coming out.] Come in to supper, children! + + RIGO. Oh, not just yet! + + ELENORA. Father's not home yet! + + LEONORA. You need not wait for him. + + LOUIS. May we come out again? + + LEONORA. [Joining other women.] Ay, for a time. + Till it gets dark. + + RIGO. [To Louis.] 'Tis dark now, almost. + + LOUIS. Hush! + She does not know it. + + GIULIANA. 'Tis dark now. + + LEONORA. Ay, I know. + I let them play a little after dark + Sometimes, when the weather's fine. I would not have them + Afraid of shadows. They think I do not know + Darkness from light. + + ELENORA. There's father now! + + RIGO. I see him! + + [Elenora, Louis and Rigo run off the stage and along the path.] + + LEONORA. He is late home today. I cannot think + What may have held him. 'Twill be deep night already + In the woods. + + CESCO. [Off stage, harshly.] Down! Down! Do you run back to your mother! + See you not I am in haste?--Hang not upon me! + + EUG. La! He is in a temper! + + LEO. I never knew him + So out of patience with them. + + GIU. He is hungry, maybe. + + LEO. He is often hungry, but I never knew him + So out of patience. [The children come running back. To Elenora.] + Why do you weep, my heart? + + LUI. Father is someone else tonight. + + ELENORA. [Weeping.] He pushed me! + + [Enter Cesco, with game on his shoulder, or a basket of mushrooms.] + + SEVERAL WOMEN. Good-even, Cesco. + + CES. [To Leonora.] Look you, Leonora, + Have we a bed fit for a queen to lie in? + + LEO. Nay, faith! Not we! + + GIL. She can have my bed, mother. + + GIN. Ay, true. There is a bed in my house, Cesco. + + GIO. What will the queen do here? + + GIU. I would indeed + She had let us know that she was coming! + + CES. The Queen + Knew not herself. Nor is she coming of herself. + They are bringing her,--on a litter of crossed boughs, + + GIL. She is not dead? + + CES. Nay. Wounded in the arm + A little, and in a swoon. But the young King + Of Lagoverde is no more! + + WOMEN. How so? + + CES. I tell you my two eyes have looked this day + On a sad and useless thing!--A fine lad, young, + And strong, and beautiful as a lad may be, + And king of a fair country, thrust from horse + By a foul blow, and sprawled upon the ground,-- + Legs wide asunder, fist full of brown mud, + Hair in his eyes,--most pitiful unkingly! + Bring me a mug of wine, good wife! [Leonora goes out.] + + GIO. You, Gilda! + There is a queen you would not be tonight, + I'll warrant you,--the Queen of Lagoverde, + With her two fatherless babes! + + EUG. Nay, now, good Cesco, + What is this matter? + + CES. You'll know it quick enough. + They will be bringing the queen here ere I have breath + To tell you. They are coming by the road, + I took the mountain-path, and ran. + + GIU. I must hasten + To put fresh sheets on. [To Gilda.] Look you,--listen well + If he should talk, and tell me afterwards. [Exit.] + + EUG. Here comes Horatio! The boats are in. + + [Some children rush down to the water-side.] + + A good day, husband? + + HOR. Ay, a heavy day. + What think you of that?--A big one, eh?--Came in + With a school of little fish,--too greedy that time! + What happens here?--The air is full of breathing! + + [The men come up from the boats with children clinging to them. + Beppo and Adelina return from another direction with the milk.] + + LEO. [Somewhat proudly.] Cesco will tell you. + + CES. In a word 'tis this: Today the Queen of Fiori, + Returning from the hunt, is set upon + By brigands; where at the King of Lagoverde, + Being hunting in that quarter and hearing cries, + Comes up to give his aid; in rendering which + He gives his life as well, and at this moment, + On other men's legs, goes heavily home to supper. + The Queen of Fiori, wounded, and in a swoon + Only less deep than death itself, comes this way. + + CROWD. Ay, here they come! [Enter Anselmo.] + + ANS. Make way, make way, good people-- + Fall back a little--leave a clear space--give air! + + [Enter Laura and Francesca, Luigi, several gentlemen, several + attendants, four of them bearing a litter on which lies Beatrice, in + a scarlet cloak, her hair flowing. Luigi is with Laura, who clings + to him. If possible to arrange, several of the party may lead on + their horses and lead them off across the stage. The litter is set + down stage in full sight of the audience. Beppo comes down stage + near it, as does also, from another direction, Gilda. Giuliana + returns.] + + ANS. Who has a bed that we may lay her on? + She cannot leave this place tonight. + + GIU. This way, sir. + + [The attendants pick up the litter and go off, the crowd following.] + + GIL. [Stealing back.] Hist, Beppo! + + BEPPO. Ay? + + GIL. Heard you not something fall, + When they picked her up again? + + BEPPO. Ay, that I did. + + GIL. What was it, think you? [They search.] Nay, 'twas nearer here. + + BEPPO. I have it.--'Tis her sword! + + GIL. The Queen's? Ay,--truly. + How beautiful! + + BEPPO. [Slowly and with awe drawing it from its scabbard.] + Look,--there is blood on it! + + + + Scene 2 + + [A room in the palace at Lagoverde. Bianca and her two little + daughters discovered at the rise of the curtain, she in a big chair, + they at her feet.] + + BIA. And so the fairy laid a spell on her: + Henceforth she should be ugly as a toad. + But the good fairy, seeing this was done, + And having in no wise power to alter this, + Made all toads beautiful. + + LITTLE ROSE-RED. They are not beautiful + Now, mother! + + LITTLE SNOW-WHITE. That was in another country!-- + What country, mother? [Bianca, lost in thought, does not answer.] + + LITTLE ROSE-RED. Where is father, mother?-- + I have not seen him in so many days! + + BIA. Father is gone away. + + LITTLE ROSE-RED. Will he come back? + + BIA. Nay. He will not come back. But we shall go + Where he is. + + LITTLE SNOW-WHITE. Soon? + + BIA. God grant it may be soon! + Now---shall we play a game? + + [Enter Octavia.] + + OCT. Bianca. + + BIA. Ay. + + OCT. It is a folly to remain indoors + Like this. You should be out in the sunshine. + + BIA. Nay. + I have no business with the sunshine. + + OCT. Ah, + My daughter, say not so!--The children, then,-- + They have much need of it, and they have need + Of you, at the same time. Take them without. + + BIA. I do not wish to be in the sunshine. + + LITTLE SNOW-WHITE. Mother, + Come out of doors! + + OCT. You see, now! + + BIA. Do you run out, dears, + And play at ball. Mother will join you later. + + LITTLE ROSE-RED. Where is my ball? + + BIA. Nay, do you not remember? + We put it in the ear of the stone griffin, + Because he hears too much. + + LITTLE ROSE-RED. Ay, so we did! + + LITTLE SNOW-WHITE. Come on, Rose-Red! [Exeunt children.] + + OCT. It is a curious thing + This friend of yours you rate so monstrous high + Has not come nigh you in your sore affliction! + + BIA. I beg you not to speak of that again, + Mother. 'Tis the third time today you have said that, + Or hinted at it. And I answer always, + "There is some reason for it," as I should answer + Though you cried daily till the day of doom, + "It is a curious thing!" There is some reason, + There is some good reason why she does not come. + + OCT. Oh, ay, I doubt it not! But there are reasons + And reasons! + + BIA. And what am I to learn from that? + + OCT. 'Tis scarce by reason of too much love for you + She leaves you friendless in your greatest need. + + BIA. I cannot say. 'Tis one thing or another. + You have no words can turn me to believe + She has forgotten me, or loves me less. + 'Tis a big thing, to leave me thus alone,-- + And there is some big reason. + + OCT. Ay. Oh, ay. + 'Tis possible she grieves for Mario's death + No less than you, + + BIA. [Simply] Ay, it is possible. + I mind she told me on my marriage-day + She was as happy as I. + + OCT. 'Tis a curious thing, + When he was here she came to see you often, + But now that he is gone comes not at all. + + BIA. [Simply.] Ay, it is curious. [Catching Octavia's expression.] + + BIA. Nay, what evil thing + Is in your mind, gives you that evil smile? + + OCT. Only a little thought. + + BIA. A little thought, + I'll warrant you!--You'd have me to believe + She loved my husband? + + OCT. Ay, I know she loved him. + + BIA. It is a lie! + + OCT. How dare you say I lie! + + BIA. Oh, do not be so proud! Let us speak truth + At length, a little! We are so garnished up + With courtesies, so over-sauced and seasoned, + We cannot taste each other! Why do you tell me + A thing like that?---You have no love for me! + + OCT. [Weeping,] I love you too much--you are the only thing + I do love! + + BIA. Nay, it is not love of me + For my own self. Else would you do the thing + Would make me happiest. You know how I have loved her, + Since we were children. You could not be to me + What she was; one forgets too many things. + You could not know my thought. I loved you dearly; + But you were hard to love; one never knew + Whether you would be hot or cold to touch. + Whilst she and I,--oh, we were two young trees + So nearly of a height we had the same world + Ever within our vision!--Yet all these years, + Even from the time we first went to Fiori, + You have been bearing me your little tales,-- + "She had done this and that, she was thus and so--", + Seeking to stir and poison the clear water + Of my deep love for her! And now this thing. + Which is not true. But if it had been true, + It would not be so out of all reason cruel + As that you should have told me of it now. + Nay, do not weep. All day 'tis one of us + Making the other weep. We are two strange, + Unhappy women. Come, let us be at peace. + + [Pause. Bianca rises suddenly.] + + Mother, farewell a little while. I go now + To her, seeing that she does not come to me. + But not to question her, not to demand, + "How comes it this? What can you say to that?" + Only to sit beside her, as in the old days, + And let her lay her quiet on my heart. + + + + Scene 3 + + [The garden at Fiori, same as in Act I, Scene 1. Discovered seated + on a stone bench in the sunshine, Beatrice, clad in a loose gown, + looking very ill. Fidelio sings off stage.] + + FID. [Singing.] + "Let the little birds sing, + Let the little lambs play. + Spring is here, and so 'tis spring,-- + But not in the old way. + + I recall a place + Where a plum-tree grew,-- + There you lifted up your face + And blossoms covered you. + If the little birds sing, + And the little lambs play, + + Spring is here, and so 'tis spring,-- + But not in the old way." + + BEA. It is a pretty song. There be some things + That even the tortured heart's profoundest anguish + Cannot bring down from their high place. Music + Is one of them. [Enter Grazia carrying a bowl.] + + GRA. Now, will you drink this broth, + Or will you not? I swear upon my shroud-- + And 'tis a solemn oath--I never nursed + So vaporous a patient!--Come, my bird! + + BEA. [Taking the bowl, then setting it down.] Nay, Nurse, I cannot. + + GRA. Oh, alackaday! + What shall I do with you? Come now, and drink me + The pretty broth, my dear! + + BEA. I will drink it later. + 'Tis too hot. + + GRA. Ay, and in a moment 'twill be + Too cold! And you'll not drink it! I could cry! + + [Exit Grazia.] + [Enter Fidelio.] + + BEA. Fidelio, as you love me, do you drink this, + And quickly, man! + + FID. [With grief.] Oh, my dear mistress! + + BEA. Drink! + + FID. [Sadly, drinking.] I best would leave a little, else she'll know + 'Twas never you. + + BEA. Ay, so you would. I' faith, + It is a knave's trick, but I cannot touch it. + Go now, Fidelio, ere she come again. + + [Exit Fidelio.] + [Enter Bianca.] + + BIA. [Softly.] Rose-Red. + + [Beatrice looks up and listens, thinking it a dream.] + + BIA. Rose-Red, dear sister! + + BEA. [Bowing her head and weeping.] Oh, my heart! + + BIA. [Coming towards her.] Why do you weep? + + BEA. [Looking up startled and seeing her, jumping to her feet.] + Oh, no! Oh, God above! + Go back! Go back! + + BIA. [Amazed, quietly.] Beatrice, are you mad? + 'Tis I, Bianca. + + BEA. [More quietly.] Ay, I know 'tis you. + And you must go away. + + BIA. [Breaking down.] You are mad, my dear! + + BEA. I would I were. For madmen have their moments + Of light into the brain.--Hear me. Bianca, + You must return at once to Lagoverde, + And come to me no more, and think of me + No more. + + BIA. Ay. I will go. But ere I go + Tell me you do not love me, 'Tis apparent + You do not. I but wish to hear the words. + + BEA. Nay, that I will not say. It would be well, + To say it, and let it be. But I'll not say it, + It is not true. + + BIA. You love me still? + + BEA. I love you + More than all else on earth. But I have wronged you + So hugely that I cannot think of it + And stand here talking with you--I am ill--[She staggers.] + You must pardon me--I have been very ill-- + + BIA. Then it is true? + + BEA. [With a cry as of relief.] Ay, it is true! Who told you? + + BIA. My mother told me. I said it was not true. + But if 'tis true--I pity you, Rose-Red, + I pity him. I pity us all together. + + BEA. [Feverishly.] Ah, I can see it now!--the quiet road + In the deep wood's gathering darkness, the reins loose + On the horses' necks, that nodded, nodded, and we + Speaking from time to time, and glad to think + Of home,--and suddenly out of nowhere,--fury, + And faces, and long swords, and a great noise! + And even as I reached to draw my sword, + The arm that held the scabbard set on fire, + As if the sleeve were burning!--and my horse + Backing into the trees, my hair caught, twisted, + Torn out by the roots! Then from the road behind + A second fury! And I turned, confused, + Outraged with pain, and thrust,--and it was Mario! + + BIA. [Wildly.] What are you saying? What are you saying? What is this + You are telling me? That it was you? Your hand--? + Oh, God have mercy upon me! Let me go! + + BEA. [Pitifully, reaching out her arms towards her.] + Snow-White! Snow-White!--farewell! + + BIA. [Without turning.] Oh, God have mercy! + + [Exit Bianca.] + + [Beatrice falls unconscious to the floor.] + + CURTAIN + + + + +ACT V + + Scene 1 + + [A room in the palace at Fiori. Anselmo and Luigi.] + + LUIGI. Nay, is that true, Anselmo? + + ANS. Aye, 'tis true. + But no one saw save me, I drew her sword + Out of his heart and thrust it in its scabbard, + Where she lay senseless. + + LUI. Oh, unhappy Queen! + + ANS. Ay, she does not forget. Has it not struck you + She rides no more? Her black horse stands in stable, + Eating his head off. It is two years now + Since she has visited Lagoverde; and the Queen + Of Lagoverde comes not nigh this place. + + LUI. There's not the reason that there was to come + Before Octavia's death. + + ANS. Nay, 'tis not that. + + LUI. Think you that Beatrice told her? + + ANS. Ay, + I doubt it not. + + LUI. 'Tis hard. They were close friends. + + ANS. And since that day her hand upon the scepter + Trembles,--and Guido sees. She goes too much + Among the people, nursing them. She loves them; + Their griefs are hers, their hearts are hers, as well. + But Guido has a following in this court + That hangs upon his word, and he has taught them + Her gentleness is weakness, and her love + Faint-hearted womanish whims, till they are eager + To pull her down, and see a man in place of her. + + LUI. Her throne is like a raft upon a sea, + That shifts, and rights itself, and may go down + At any moment. + + ANS. The more especially + For all these drowning beggars that cling to it, + Chattering for help. She will not strike them off. + + LUI. Unhappy Queen. And there's a storm approaching, + If ever I smelled wind. + + ANS. I fear it Luigi. + + [Exeunt Anselmo and Luigi. Enter Guido and Francesco.] + + FRA. How do I know you love her still?--I know, + The way you fall a-tapping with your fingers, + Or plucking at your eye-brows, if her name + Is spoken, or she move across the court. + How do I know?--Oh, Guido, have I learned you + So little, then, in all these bitter years? + I know you very well. + + GUI. You know too much + I'll have an end of this, I tell you! + + FRA. Ay. + You've told me that before.--An end of what? + What is this thing you'll put this mighty end to? + 'Fore God I would I know. Could I but name it, + I might have power to end it then, myself! + + GUI. I'll have an end of these soft words at twilight, + And these bad mornings full of bile! I'll have an end + Of all this spying on me! + + FRA. [Gently.] 'Tis not so. + I do not spy upon you. But I see you + Bigger than other men, and your least gesture-- + A giant moving rocks.--Oh, Guido, tell me + You do not love her! Even though I know + You lie, I will believe you,--for I must! + + GUI. [Pause.] Nay, I am done with you. I will tell you nothing. + Out of my way!--I have that on my mind + Would crush your silly skull like the shell of an egg! + Od's body, will you keep your ugly claws + From scratching at my sleeve? + + [He thrusts her roughly aside and rushes out.] + + FRA. [Creeping away, sobbing.] Oh, God--oh, God-- + I would whatever it is, that were over. + + [Exit.] + + [Enter Fidelio, and crosses the stage, singing.] + + FID. [Singing.] + "Rain comes down + And hushes the town. + _And where is the voice that I heard crying_? + Snow settles + Over the nettles. + _Where is the voice that I heard crying_? + Sand at last + On the drifting mast. + _And where is the voice that I heard crying_? + Earth now + On the busy brow. + _And where is the voice that I heard crying_?" + + [Exit Fidelio.] + + +Scene 2 + +[The court-room in the palace at Fiori, extremely crowded with restless +and expectant people. The crowd is arranged on both sides of the stage, +in such a way that a broad avenue is left in the middle, leading from +the footlights to the back of the stage and gradually narrowing to a +point at Beatrice's throne. On the extreme right and left of the stage, +along the back of the crowd, stands the guard, a large body of armed +soldiers, at attention, in double row. On either side the throne stands +an armed soldier. As the curtain rises the court is all standing and +looking off stage in a certain direction. Enter the Queen, Beatrice, +from that direction, walks in, looking straight ahead, goes to the +throne and seats herself. The court sits. The clerk begins to read.] + + CLERK. The first case to be heard is that of Lisa, + A widow with two small children, who resides + Near the Duke's wood, and has been caught in the act + Of cutting trees there, and hauling them home to burn. + + BEA. Stand, Lisa. You are a widow, I am told. + With two small children. + + LISA. Ay, your Majesty, + Two little boys. + + BEA. I know another widow, Lisa, + With two small children,--but hers are little girls. + Have you been cutting trees on the Duke's land? + + LISA. No, Majesty. I could not cut a tree. + I have no axe. + + BEA. And are you strong enough + To break a tree with your hands? + + LISA. No, Majesty. + + BEA. I see. What do you do, then? There must be + Some reason for this plaint. + + LISA. I gather wood + That's dead,--dried boughs, and underbrush that's been + A long time on the ground, and drag it home. + + BEA. Have you a wood-pile? + + LISA. Nay. I gather enough + Each day for the day's need. I have no time + To gather more. + + BEA. And does the dry wood burn + As well as other wood? + + LISA. Oh, better! + + BEA. I see. + You would as lief, then, have this wood you gather, + This dead wood, as a green tree freshly cut? + + LISA. Ay, I would liefer have it, Majesty. + I need a fire quickly. I have no time + To wait for wood to season. + + BEA. You may sit down, + + LISA. Is the Duke's agent here? + + AGENT. Ay, here. + + BEA. What is it the Duke's custom to have done + With this dead wood on his estate? + + AGENT. He burns it, + Your Majesty. + + BEA. You mean to say, I think, + He pays a price to have it gathered and burned. + + AGENT. Ay, Majesty. + + BEA. Where is it burned? + + AGENT. In a clearing. + + BEA. And what is cooked upon it? + + AGENT. Nothing is cooked. + The Duke is not a gypsy. [With irritation.] + + [Pause.] + [Slight titter in court-room, instantly hushed into profound silence.] + + BEA. [Evenly.] If he were, + He would be shrewder, and not be paying money + For what this woman is glad to do for naught. + Nothing is cooked, and nobody is warmed,-- + A most unthrifty fire! Do you bid the Duke, + Until he show me sounder cause for plaint, + Permit this woman to gather unmolested + Dead wood in his forest, and bear it home.--Lisa, + Take care you break no half-green boughs.--The next case? + + CLERK. Is that of Mario, a miller, accused + Of stealing grain. A baker, by name Pietro, + Brings this complaint against him, + + MESSENGER. [Rushing in and up to throne.] Majesty, + Bianca of Lagoverde lies a-dying, + And calls for you! + + BEA. [Rising.] She calls for me? + + MESSENGER. Ay, Majesty. + + [Beatrice stands very still a moment, then turns to the townspeople.] + + BEA. [Earnestly and rapidly,] You people, do you go now and live kindly + Till I return. I may not stay to judge you; + Wherefore I set you free. For I would rather + A knave should go at large than that a just man + Be punished. If there be a knave among you, + Let him live thoughtfully till I return. + + [She steps down from the throne, and is immediately + seized by the arm on either side by the two guards who + have been standing beside the throne.] + + BEA. Why, what is this, Enrico? [Looking up at the soldier on her right.] + Nay, it is not + Enrico! [Looking to other side.] Nor is it Pablo! How is this? + + [From each side of the stage one row of the double + row of soldiers detaches itself, marches down around the + front of the stage and up towards the throne, making an + armed alley for the Queen to walk down, and entirely + surrounding the crowd.] + + Nay, all new faces. So! Upon my word, + And keep your fingers from me!--I see you there, + Angelo! Do not turn your head aside! + And you, Filippo!--Is the sick hand better + I bound the bandage on?--Is't well enough + To draw a sword against me?--Nay, I am sick. + I, that have loved you as your mothers love you-- + And you do this to me! Lead me away. + + [The two guards lead out the Queen. Nobody else moves. The + townspeople cower and stare. The two little pages that bore her + train as she entered remain back of the throne, not knowing what to + do. As she goes by them, her train dragging on the ground, the two + ragged little boys of Lisa, the wood-gatherer, run out from the + group of citizens, pick up the ends of her train, and go out, + holding it up, one of them with his arm over his eyes.] + + + + Scene 3 + + [A dungeon. Beatrice alone, sitting on a bench, her head bowed in + her hands. Enter Guido] + + BEA. Guido, is't you! + + GUI. Ay, it is I, my Queen. + You sent for me, am I mistake not? + + BEA. Ay. + Guido, you will not keep me when I tell you + Snow-White is dying and calls my name! + + GUI. I knew that. + + BEA. You knew that, and you hold me here. Oh, Heaven! + What are you? + + GUI. I am a man. You should have thought + Of that before. I could have been your friend + If it had pleased you. Failing that, I am + Your enemy. I am too aware of you, + And have been ever, to hold me in at less. + + BEA. Guido. I beg of you upon my knees + To let me go! + + GUI. And why should I do that? + + BEA. For pity's sake! + + GUI. I do not know the word. + + BEA. Then for the sake of my sworn hand and seal + Upon a paper yielding fair to you + This sovereignty you prize. It is to me + Little enough tonight. I give it gladly. + + GUI. You have no power to give what I have taken + Already, and hold upon my hand, Rose-Red, + + BEA. Oh, do not call me that! Oh, Guido, Guido, + I cannot suffer further! Let me go! + If only for a moment, let me go! + I will return,--I will but take her hand, + And come away! I swear it! Let me go! + + GUI. On one condition only. + + BEA. Ay! 'Tis granted, + Ere it is spoken! + + GUI. That upon returning + You come to me, and give yourself to me, + To lie in my arms lovingly. [She is stricken speechless.] You hear? + To lie in my arms lovingly. + + BEA. Oh, God! + + GUI. It is my only word. + + BEA. Oh, God! Oh, God! + + GUI. 'Tis granted? + + BEA. Nay,--I cannot! I will die + Instead. Oh, God, to think that she will lie there + And call for me, and I will never come! + + GUI. Goodnight. [He goes to door.] + + BEA. [In a quiet voice.] Guido! + It shall be as you say. + + GUI. [Rushing to her.] Ah, Beatrice! + + BEA. Nay, touch me not yet. + I will return. [She laughs like a child.] Why,--'tis a simple matter! + I wonder now that even for a moment + I held myself so dear! When for her sake + All things are little things!--This foolish body, + This body is not I! There is no I, + Saving the need I have to go to her! + + + + Scene 4 + + [A room at Lagoverde. Bianca lying in bed, ill to death. The children + clinging to the bed, their nurse trying to draw them away, Giulietta + a maid, in the background. Possibly other attendants about.] + + LITTLE ROSE-RED. Tell us a story, mother! + + NURSE. Come away, now! + + LITTLE SNOW-WHITE. Tell us a story! + + BIA. Do you go away with nurse + A little while. You will bring them back to me + Later? + + NURSE. [Weeping.] Ay, madam. + + [She goes out with the children.] + + BIA. Later--not much later, + I think.--Hear you no sound of horses yet, + Giulietta, galloping this way? + + GIU. Nay, not yet. + + BIA. [To herself.] I will not go until she comes. I will not. + Still,--if I should--Giulietta! + + GIU. [Coming quickly to the bed.] Ay, my mistress! + + BIA. She will come, I tell you! + + GIU. Ay, I doubt it not. + + BIA. Ay, she will come. But if she should come late, + And I no longer be here to receive her, + Show her all courtesy, I conjure you. + She will be weary, and mightily distraught. + Make her take wine,--and bring the children to her. + And tell her, they are hers now. She is their mother. + + [Giulietta starts to go back to the window.] + + And say to her--wait!--I have a message for her. + Say to her this, Giulietta: The foot stumbles, + The hand hath its own awkward way; the tongue + Moves foolishly in the mouth; but in the heart + The truth lies,--and all's well 'twixt her and me. + Can you remember that? + + GIU. Ay, madam, I think so. + If not the words, at least the gist of it. + + BIA. Forget it all, my good child, but forget not: + All's well 'twixt her and me. + + GIU. Nay, that I have. + + BIA. I will sleep now a little. Do you leave me. + But go not far. [She lies still for a moment, then starts up.] + I hear the sound of hoof-beats! + + GIU. Nay, madam. + + BIA. Ay, I tell you! I can hear them! + My face upon the pillow brings my ear + Nearer the ground! She is coming! Open the door! + + [She kneels up in bed and holds out her arms towards the door, + maintaining this position till Beatrice comes. Giulietta, weeping, + opens the door, and stands in it, shaking her head sadly.] + + GIU. [Suddenly lifting her head and listening.] Nay, it is so! I hear it + now myself! + Ay, there's a horse upon the bridge! + + BIA. She's coming! + Stand back! Stand out of the doorway! [Pause.] + + SERVANT. [Entering.] Majesty, + The Queen is here. + Ay, ay! Stand out of the doorway! [Pause.] + + GIU. She is here! She is in the court! She has leapt from horse! + Madam, Oh, God be praised! This way! + + BIA. Sister! + + [Beatrice enters in her riding clothes, leaps to the bed, Bianca + throws her arms about her neck, and dies.] + + BEA. [After a moment, looking down at her.] + Snow-White! Oh, no! Oh, no! Snow-White! [She screams.] Ah-h! Help me! + She is dying! + + [Attendants and nurses rush in, also the children.] + + LITTLE SNOW-WHITE. Mother, wake up! + + LITTLE ROSE-RED. Come out of doors! + + BEA. Take them away. Snow-White! [Leaning over the bed.] + + NURSE. Nay, it is over, + Madam. + + BEA. Leave me. Leave me alone with her. + + [Exeunt all but Beatrice. She kneels beside the bed.] + + + + Scene 5 + + [A room at Lagoverde, The next day. Beatrice alone.] + + BEA. In sooth, I do not feel the earth so firm + Under my feet as yesterday it was. + All that I loved are gone to a far land, + And left me here alone, save for two children + And twenty thousand enemies, and the thing + Of horror that's in store for me. Almost + I feel my feet uprooted from the earth, + There's such a tugging at me to be gone. + Save for your children, [Looking off stage towards Bianca's room.] + 'twould be simple enough + To lay me down beside you in your bed, + And call on Death, who is not yet out of hearing, + To take me, too. [Enter Fidelio.] + + FID. Mistress I have news for you. + Guido is dead! + + BEA. Is dead? + + FID. Ay, he is dead, + Dead of a dagger i' the back,--and dead enough + For twenty. Scarce were you gone an hour's time + We came upon him cold. And in a pool + Nearby, the Lady Francesca floating drowned, + Who last was seen a-listening like a ghost + At the door of the dungeon, 'Tis a marvelous thing! + But that's not all! + + BEA. Why, what more can there be? + + FID. Mistress, in the night the people of Fiori + Rose like a wind and swept the Duke's men down + Like leaves! Your throne is empty,--and awaits you! + + [Enter Giulietta,] + + GIU. Madam. + + BEA. Ay, Giulietta. + + GIU. Madam, last night, + Before you came, she bade me tell you something, + And not forget. 'Tis this: That the foot stumbles, + The hand doth awkward things, and the foolish tongue + Says what it would not say,--but in the heart + Truth lies,--and all is well 'twixt her and you. + + [She starts to go out, and turns back at the door.] + + She bade me above all things to forget not + The last: that all is well 'twixt her and you. [Exit.] + + BEA. [Slowly and with great content.] + She is not gone from me. Oh, there be places + Farther away than Death! She is returned + From her long silence, and rings out above me + Like a silver bell!--Let us go back, Fidelio, + And gather up the fallen stones, and build us + Another tower. + + + + + + +End of Project Gutenberg's The Lamp and the Bell, by Edna St. Vincent Millay + +*** END OF THIS PROJECT GUTENBERG EBOOK THE LAMP AND THE BELL *** + +***** This file should be named 3768.txt or 3768.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/7/6/3768/ + +Produced by David Starner and the Distributed Proofreaders Team + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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FOR PUBLIC DOMAIN ETEXTS*Ver.07/27/01*END* + +This etext was produced by David Starner. + + + + + +The Lamp And The Bell + +A Drama In Five Acts + +By Edna St. Vincent Millay + + + + +Written on the occasion of the Fiftieth Anniversary of the Founding +of the Vassar College Alumnae Association + +Dedicated to '1917' + + + + +Lorenzo, King of Fiori Julia Lovejoy Cuniberti '11 +Mario, King of Lagoverde Valerie Knapp '20 +Guido, Duke of Versilia, +Illegitimate nephew to Lorenzo Louisa Brook Jones '07 + +Giovanni Katherine Jones '20 +Luigi Muriel Izard '17 +Anselmo Lucia Cole Waram '01 +Raffaele Eleanor Kissan '20 +Gentlemen at the court of Lorenzo + +Fidelio Geneva Harrison '20 +Jester at the court of Lorenzo + +Giuseppe Eleanor Fatman Morgenthau '13 +Agent for the Duke's estates + +Cesco Gertrude Taylow Watkins '07 +Horatio Lucille Stimson Harbey '09 +Townsmen of Fiori + +Beppo Marcell Furman Newburg '19 +A little boy, son to Guiliana + +Rigo Ruth Delepenha '17 +Louis Emily Gallagher '21 +Little boys, sons to Leonora + +Clerk Lucy Madeira Wing '96 + +Messenger Esther Saville Davis '06 + +Octavia, Lorenzo's second wife Montgomery Cooper '09 + +Beatrice, "Rose-Red," Clifford Sellers '21 +Daughter to Lorenzo by a former marriage + +Bianca, "Snow-White," Lois Duffie '20 +Daughter to Octavia by a former marriage + +Laura Frances Stout Kellman '17 +Carlotta Kathleen Millay Young ex-'21 +Francesca Dorothy Comstock '19 +Viola Lillian White '18 +Lilina Caroline Goodrich '16 +Lela Sylvia Brockway '20 +Arianna Margaret Hughes '18 +Claudia Janet Lane '18 +Clara Jeanette Baker '18 +Lucia Ellen Hasbrouck '15 +Ladies at the Court of Lorenzo + +Grazia Eleanor Ray Broeniman '99 +Nurse to Beatrice and Bianca + +Giulietta, servant to Bianca Virginia Archibold '17 +"Little Snow-White" Gretchen Tonks +"Little Rose-Red" Joy Macracken '36 + +Leonora Catherine Barr '20 +Giuliana Mabel Hastings Humpstone '94 +Clara Olive Remington '19 +Giovanitta Caroline Curtis Johnson '83 +Anna Frances Haldeman Sidwell '84 +Eugenia Helen Hoy Greeley '99 +Townsmen of Fiori + +Eleanora +A little girl, daughter to Leonora + +Gilda Ruth Benedict '20 +A little girl, sister to Beppo + +Adelina, another little girl Maiserie MacCracken '31 +Nurse Edith Ward + +Pierrot +Harlequin +Pant Aloon +Polichinello +Colombine +Strolling players + +Courtiers, Ladies-in-Waiting, Soldiers, Pages, Musicians, +Towns-people, Children + + + + +PROLOGUE + + [Anselmo and Luigi] + +ANSELMO. What think you,--lies there any truth in the tale +The King will wed again? + +LUIGI. Why not, Anselmo? +A king is no less lonely than a collier +When his wife dies, And his young daughter there, +For all her being a princess, is no less +A motherless child, and cries herself to sleep +Night after night, as noisily as any, +You may be sure. + +ANSELMO. A motherless child loves not, +They say, the second mother. Though the King +May find him comfort in another face,-- +As it is well he should--the child, I fancy, +Is not so lonely as she is distraught +With grief for the dead Queen, and will not lightly +Be parted from her tears. + +LUIGI. If tales be true, +The woman hath a daughter, near the age +Of his, will be a playmate for the Princess. + +CURTAIN + + + + +ACT I + +Scene 1 + + [Scene: A garden of the palace at Fiori; four years later.] + + [Discovered seated Laura, Francesca and Fidelio, Laura embroidering, + Fidelio strumming his flute, Francesca lost in thought.] + +LAURA. You,--Fool! If there be two chords to your lute, +Give us the other for a time! + +FRANCESCA. And yet, Laura, +I somewhat fancied that soft sound he made. +'Twas all on the same tone,--but 'twas a sweet tone. + +LAURA. 'Tis like you. As for myself, let music change +From time to time, or have done altogether. +Sing us the song, Fidelio, that you made +Last night,--a song of flowers, and fair skies, +And nightingales, and love. + +FIDELIO. I know the song. +It is a song of winter. + +LAURA. How is that? + +FIDELIO. Because it is a song of summer set +To a sad tune. + +FRANCESCA. [Sadly] Ah, well,--so that it be not +A song of autumn, I can bear to hear it. + +LAURA. In any case, music. I am in a mood for music. +I am in a mood where if something be not done +To startle me, I shall confess my sins. + + [Enter Carlotta.] + +CARLOTTA. Ha! I will have that woman yet by the hair! + +LAURA. What woman, pray, Carlotta? + +CAR. Ho! What woman! +Who but that scullery-wench, that onion-monger, +That slatternly, pale bakress, that foul witch, +The coroneted Fish-Wife of Fiori, +Her Majesty, the Queen! + +FRA. Hush--hush--Carlotta! +You could be put to death for less than that! + +CAR. Not I, my duck. When I am put to death +'Twill be for more! Oh, I will have her yet +By the hair! [For the first time noticing Fidelio.] +Fidelio, if you breathe one word +Of this, I will scratch the Princess into ribbons, +Whom you love better than your wit. + +FID. I' faith, +I did but hear you say you are a fish-wife, +And all the world knows that. + +LAU. Fear not, Carlotta, +He is as dumb as a prophet. Every second word +He utters, eats the one before it. Speak, +But softly. + +CAR. Nay,'tis nothing.--Nay, by my head, +It is a townful! 'Tis the way she has +Of saying "that should be done like this, and this +Like that"! The woman stirs me to that point +I feel like a carrot in a stew,--I boil so +I bump the kettle on all sides! + +LAU. My dear, +Were you as plump as I you would not dare +Become so angry. It would make your stays creak. + +CAR. Well, I am done. Fidelio, play me a dirge +To put me in good spirits. Merry music +Is sure to make me sad. + + [Fidelio plays. Pause.] + +CAR. 'Tis curious +A woman like her should have a child like that-- +So gentle and so pretty-mannered. Faith,-- + +FID. Hush! Hush! Here come the prettiest pair of birds +That ever sat together on a bough so close +You could not see the sky between. How now, +Snow-White and Rose-Red! Are you reconciled +One to another? + + [Enter Beatrice and Bianca, with their arms about one another.] + +BIA. Reconciled, Fidelio? +We had not quarrelled! [Laughter from Fidelio and the ladies.] + +BEA. Do not listen to him, +Bianca, 'tis but the jingling of his bells. + +FIDELIO. Do you make a better jest than that +At once, or have the clappers cut from them. + +FID. Alas, alas,--all the good jests are made. +I made them yesterday. + +CAR. If that be true, +You would best become a wise man for a time, +My friend,--there are plenty of wise words not yet said! + +FID. I shall say them all tomorrow. + +LAU. If you do, +You will be stoned to death. + +FID. Not I. No one +Will hear me.--Well, I am off.--I know an old man +Who does not know the road runs past his house; +And yet his bees make honey. [Exit Fidelio.] + +CAR. [Looking after him.] 'Tis the one wise fool +We have among us. + + [Enter Grazia.] + +GRA. Oh, here you are, my ducklings! +Always together, like a beggar and a flea! +I looked for you at lunch-time; I forget now +What for; but then 'twas a matter of more weight +Than laying siege to a city,--la, how time +Does carry one on! An hour is like an ocean, +The way it separates you from yourself!-- +[To Bianca and Beatrice.] What do you find to talk about all day? + +BEA. We do not talk all day. + +CAR. Nay, tis you, Grazia, +That talk all day. + +BEA. We ride, and play at tennis, +And row on the lake-- + +GRA. I know who does the rowing! + +BEA. Nay, not by any means! Bianca rows +Nearly as well as I. + +CAR. And do you ride +Nearly as well as she, Bianca? [All smile.] + +BIA. [Ruefully.] Nay. + +GRA. 'Tis an unkind question. There be few in Fiori +Might answer, "Aye." Her Highness rides like a centaur. + +BIA. I'd never dare to mount the horse she rides. + +BEA. What, Harlequin?--La, he's gentle as a kitten! +Though he's a little young, 'tis true, not settled yet +In his mind. + +LAU. As to his mind, 'twere a small matter, +Were he a bit more settled in his legs! + +BIA. I'm afraid of horses, anyway, they are so much +Bigger than I am. + +BEA. Oh, Bianca, horses +Are just like people! Are you afraid of father?-- +He is bigger than you. + +BIA. Nay. But I'd never dare +Prod him which way to go! + +BEA. Oh, la, I would! +Father, this ditch! This four-foot wall now, father! +And swim the brook beyond! + +FRA. And is there naught +In which Bianca carries off the trophies? + +BEA. [Ruefully.] Ay, there is tennis. + +LAU. She wins from you at tennis? + +BEA. She flays me, Laura. She drags me at her racket +Nine times around the court! + +CAR. Why, how is that?-- +She is not quicker. + +BEA. Nay, but she grows cool +Whilst I grow hot, Carlotta, and freezes me +Ere I can melt her! + +FRA. Is it true, Bianca? + +BIA. 'Tis true I win from her.--Although not always. + +GRA. What did I come here for?--I must go back +To where I started, and think of it again! [Exit Grazia.] + +CAR. [Calling after her.] +Are you sure that you remember where you started? +-- -- The woman hath a head like a sieve. + +LAU. And yet, +You may be sure 'tis nothing more than the thimble +Of the matter she's forgotten. I never knew her +Mislay the thread or the needle of a thing. + +BIA. We must study now, Beatrice, we really must. +We have not opened a book since yesterday. + +LAU. La, as for me, I have not opened a book +Since yesteryear,--I'd rather open a vein! + +CAR. Lessons,--troth, I remember well those lessons. +As for what I learned,--troth, that's a different matter, + +FRA. 'Tis curious; the things that one remembers +Are foolish things. One does not know at all +Why one remembers them. There was a blackbird +With a broken foot somebody found and tamed +And named Euripides!--I can see it now. + +CAR. Some of the silly rhymes we used to write +In the margins of our books, I still remember! + +LAU. And eating sweets behind the covers of them! + +FRA. And faces--faces--faces--and a little game +We used to play, all marching in a row +And singing!--I wish I were a child again. + +BEA. You are not old, Francesca. You are very young. +And very beautiful! + +FRA. I have been beautiful +Too many years to be so very young. + +CAR. How now, Francesca! Would you have it said +You are enamoured of some beardless youth, +That so you see the wrinkles suddenly? +Have done! Have done! + +BIA. Where shall we study, Bice? + +BEA. Indoors. I cannot study out of doors. + + [Exeunt Beatrice and Bianca.] + +LAU. I vow I never knew a pair of lovers +More constant than those two. + +CAR. A pair of lovers? +Marry, I find your figure lacking force! +Since when were lovers true? + +FRA. Oh, peace, Carlotta! +You bear too sharp a weapon against the world,-- +A split tongue full of poison, in a head +That darts at every heel!--I'm going in. [Exit Francesca.] + +LAU. You should not say such things when she is with us, Carlotto. + +CAR. Is the woman in love? + +LAU. In love! +She is so far gone she does not know which way +To sail,--all shores are equally out of sight. + + [Exeunt Laura and Carlotta.] + + [Music off stage. Enter Fidelio, singing.] + +FID. "What was I doing when the moon stood above? +What did I do? What did I do? +I lied to a lady that had given me her love,-- +I swore to be true! I swore to be true!" + + [He picks up from the grass a white scarf which Beatrice was + wearing, and which slipped from her shoulders unnoticed as she + went out.] + +FID. My mistress! + + [He thrusts the scarf under his cloak and continues his song, + just as Guido enters from another direction.] + +FID. "And what was I doing when the sun stood above? +What did I do? What did I do?--" + +GUI. By my sacred word, Fidelio, I do not like your song. + +FID. Faith, and small wonder!--It is a song that sets the evil eye +To staring in upon itself. + +GUI. [Stopping in his walk.] What mean you by that, my throaty friend? + +FID. I mean to say +That, taking it all in all and by and large, +You do not care for music. + +GUI. I do not care +For yours, but it is possible Apollo +Had a better tenor. I never heard him sing. + +FID. Nay, and how could you?--He died when you were born! + +GUI. He died, that is, in giving birth to me? + +FID. Aye, if you like,--you bear as much resemblance +To him as to your mother's husband, surely. + +GUI. Take care, Fidelio! + +FID. [Lightly] So! Then it angers you +Apollo should be deemed your sire! I told you +[Sadly.] You did not care for music! + +GUI. You are a sly fool, +My merry friend. What hide you under the cloak? + +FID. Why, 'tis a little patch of snow the sun +Would lay too hot a hand on. + +GUI. By my life,-- +And what are you that you can keep the sun +From shining where it will? + +FID. Why, by your life,-- +And a foul oath it is!--why, by your life, +I am a cloud,--that is an easy riddle. + + + +Scene 2 + + [Scene: A garden with a fountain, at Fiori. Beatrice + and Bianca sitting side by side on a low step. Evening.] + +BEA. How beautiful it is to sit like this, +Snow-White,--to think of much, and to say little. + +BIA. Ay, it is beautiful. I shall remember +All my life long these evenings that we spent +Sitting just here, thinking together. [Pause.] Rose-Red, +It is four years today since first we met. +Did you know that? + +BEA. Nay, is it? + +BIA. Four years today. +I liked you from the moment that I saw you, +Beatrice! + +BEA. I you, Bianca. From the very moment! +I thought you were the prettiest little girl +That I had ever seen. + +BIA. I was afraid +Of you, a little, at first,--you were a Princess, +You see. But you explained that being a Princess +Was much the same as anything else. 'Twas nice, +You said, when people were nice, and when they were not nice +'Twas hateful, just the same as everything else. +And then I saw your dolls, and they had noses +All scratched, and wigs all matted, just like mine, +Which reassured me even more!--I still, though, +Think of you as a Princess; the way you do things +Is much more wonderful than the way I do them!-- +The way you speak to the servants, even the way +You pick up something that you drop. + +BEA. You goose! +'Tis not because I'm a princess you feel that way-- +I've always thought the same thing about you!-- +The way you draw your gloves on is to me +More marvelous than the way the sun comes up! + + [They both burst out laughing.] + +BEA. Oh, lud,--how droll we are! + +BIA. Oh, I shall die +Of laughing! Think you anyone else, Rose-Red, +Was ever half so silly? + +BEA. I dare wager +There be a thousand, in this realm alone, +Some even sillier! + +BIA. Here comes Fidelio! [Enter Fidelio.] + +BEA. Fidelio, sing to us,--there is no nightingale +Abroad tonight, save you. And the night cries +For music! + +BIA. Sing, Fidelio! + +FID. I have no thorn +To lean my breast on. I've been happy all day, +And happiness ever made a crow of me. + +BEA. Sing, none the less,--unless you have a cold, +Which is a singer's only rock of refuge. +You have no cold, or you would not be happy. +So sing. + +FID. [Singing.] "Oh, little rose-tree, bloom! +Summer is nearly over. +The dahlias bleed and the phlox is seed, +Nothing's left of the clover, +And the path of the poppy no one knows,-- +I would blossom if I were a rose! + +Summer for all your guile +Will brown in a week to autumn, +And launched leaves throw a shadow below +Over the brook's clear bottom, +And the chariest bud the year can boast +Be brought to bloom by the chastening frost! +Oh, little rose-tree, bloom!" + + [As he finishes the song Fidelio goes out, softly strumming + the last chords. Bianca and Beatrice did sit quite + still for a moment.] + +BIA. Do you know what I am thinking, Bice? + +BEA. You're wondering where we'll be ten years from now, +Or something of that nature. + +BIA. Ay, I was wondering +Which would be married first, and go away, +And would we still be friends. + +BEA. Oh, do you doubt it, +Snow-White? + +BIA. Nay, nay,--I doubt it not, my dear,-- +But I was wondering. I am suddenly sad, +I know not why. I do not wish to leave you +Ever. + +BEA. I know. I cannot bear +To think of parting. We have been happy these four years +Together, have we not? + +BIA. Oh, Beatrice! [She weeps.] + +BEA. Nay, do not weep!--Come, you must go to bed. +You are tired tonight. We rode too far today. + + [She draws Bianca's head down to her shoulder.] + +Oh, you are tired, tired, you are very tired. +You must be rocked to sleep, and tucked in bed, +And have your eyelids kissed to make you dream +Of fairies! Come, dear, come. + +BIA. Oh, I do love you, +Rose-Red! You are so sweet! Oh, I do love you +So much!--so much! I never loved anyone +The way that I love you! There is nobody +In all the world so wonderful as you! + + [She throws her arms about Beatrice and clings to her.] + + + +Scene 3 + + [A room in the palace at Fiori. Lorenzo and Beatrice playing + chess. Twilight.] + +LOR. You'll not be able to get out of that, +I think, my girl, with both your castles gone. + +BEA. Be not so sure!--I have a horse still, father, +And in a strong position: if I move him here, +You lose your bishop; and if you take my bishop, +You lose your queen. + +LOR. True, but with my two rooks +Set here, where I can push them back and forth, +My king is safe till worms come in and eat him. + +BEA. What say you then to this?--Will you take this pawn, +Or will you not? + +LOR. [Studying the board.] Od's bones!--where did that come from? + + [Enter Octavia.] + +OCT. La, would you lose your eyesight, both of you?-- +Fumbling about those chessmen in the dark? +You, Beatrice, at least, should have more wit! + +LOR. "At least"--hm!--Did you hear her say, "at least," +Bice, my daughter? + +BEA. Ay. But it is true +The twilight comes before one knows it. + +LOR. Ay. +'Tis true, but unimportant. Nevertheless, +I am a tractable old fellow.--Look you, +I will but stay to map the lay of the pieces +Upon this bit of letter. 'Tis from a king +Who could not tell the bishop from the board,-- +And yet went blind at forty.--A little chess +By twilight, mark you, and all might have been well. + + [Enter Bianca.] + +BIA. Oh,--I've been looking everywhere for you? + +OCT. [Drily.] For me? + +BIA. Nay, mother,--for Beatrice. Bice, +The rose is out at last upon that bush +That never blossomed before,--and it is white +As linen, just as I said 'twould be! + +BEA. Why, the bud +Was redder than a radish! + +BIA. Ay, I know. +But the blossom's white, pure white. Come out and see! +[Politely.] Would you like to see it, mother? + +OCT. Nay, not now, child. +Some other time. + +BEA. Father, we'll end the game +Tomorrow; and do you not be scheming at it +All night! + +LOR. Nay, I will not unfold the chart. + +BEA. But you remember well enough without; +Promise me not to think of it. + +LOR. I' faith, +You are a desperate woman. Ay, I promise. + + [Exeunt Bianca and Beatrice. Octavia seats herself. Pause.] + +OCT. I tell you, as I've told you often before, +Lorenzo, 'tis not good for two young girls +To be so much together! + +LOR. As you say, +Octavia. For myself, I must confess +It seems a natural thing, enough, that youth +Should seek out youth. And if they are better pleased +Talking together than listening to us, +I find it not unnatural. What have we +To say to children?--They are as different +From older folk as fairies are from them. + +OCT. "Talking together," Lorenzo! What have they +To talk about, save things they might much better +Leave undiscussed?--you know what I mean,--lovers, +And marriage, and all that--if that is all! +One never knows--it is impossible +To hear what they are saying; they either speak +In whispers, or burst out in fits of laughter +At some incredible nonsense. There is nothing +So silly as young girls at just that age.-- +At just Bianca's age, that is to say. +As for the other,--as for Beatrice, +She's older than Bianca, and I'll not have her +Putting ideas into my daughter's head! + +LOR. Fear not, my love. Your daughter's head will doubtless, +In its good time, put up its pretty hair, +Chatter, fall dumb, go moping in the rain, +Be turned by flattery, be bowed with weeping, +Grow grey, and shake with palsy over a staff,-- +All this, my love, as empty of ideas +As even the fondest mother's heart could wish. + +OCT. You mock me, sir? + +LOR. I am but musing aloud, +As is my fashion.--And indeed, my dear, +What is the harm in lovers-and-all-that +That virtuous maidens may not pass the time +With pretty tales about them?--After all, +Were it not for the years of looking forward to it +And looking back upon it, love would be +Only the commonest bird-song in the hedge,-- +And men would have more time to think,--and less +To think about. + +OCT. That may be. But young girls +Should not be left alone too much together. +They grow too much attached. They grow to feel +They cannot breathe apart. It is unhealthy. + +LOR. It may be true. But as for me, whom youth +Abandoned long ago, I look on youth +As something fresh and sweet, like a young green tree, +Though the wind bend it double.--'Tis you, 'tis I, +'Tis middle age the fungus settles on. + +OCT. Your head is full of images. You have +No answers. I shall do as I spoke of doing, +And separate them for a little while, +Six months, maybe a year. I shall send Bianca +Away within a fortnight. That will cure them. +I know. I know. Such friendships do not last. + +CURTAIN + + + + +ACT II + +Scene 1--Four months later. + + [Scene: A garden, near the palace at Fiori. The young Duke + Guido is discovered standing with one foot resting on a + garden-bench, looking off, lost in thought. Enter Giovanni.] + +GIO. That is a merry face you wear, my Guido! +Now that the young King Mario visits the court +And walks all morning in the woods with the Princess, +Or gives her fencing lessons,--upon my word, +You are as gay as a gallows! + +GUI. She is never +Alone with him. Laura--Carlotta--someone +Is always there. + +GIO. Ah--ah--but even so, +No matter who is there, I tell you, lovers +Are always alone! + +GUI. Why do you say these things, +Giovanni? + +GIO. Because I love you, you lean wolf, +And love to watch you snuff the air. My friend, +There was a time I thought it all ambition +With you, a secret itching to be king-- +And not so secret, either--an open plot +To marry a girl who will be Queen some morning. +But now at times I wonder. You have a look +As of a man that's nightly gnawed by rats, +The very visage of a man in love. +Is it not so? + +GUI. I do not know, Giovanni. +I know I have a passion in my stomach +So bitter I can taste it on my tongue. +She hates me. And her hatred draws me to her +As the moon draws the tide. + +GIO. You are like a cat-- +There never was a woman yet that feared you +And shunned you, but you leapt upon her shoulder! +Well, I'll be off. The prettiest girl in Fiori,-- +Unless it be Her Highness, waits for me +By a fountain. All day long she sells blue plums, +And in the evening what she has left of them +She gives to me! You should love simply, Guido, +As I do. [Exit Giovanni.] + + [Guido sits on the bench and drops his head in hand. + Enter Francesca.] + +FRA. [Softly.] Guido! Guido! + +GUI. Who calls me? + +FRA. Guido! + +GUI. Francesca! Why do you follow me here? +You know I do not wish to see you! + +FRA. Do not be angry. +'Tis half a week since you have spoken to me, +And over a week since you have so much as laid +Your hand upon my arm! And do you think, +Loving you as I do, I can do without you, +Forever, Guido, and make no sign at all? +I know you said you did not wish to see me +Ever again,--but it was only a quarrel-- +And we have quarreled before! + +GUI. It was not a quarrel. +I am tired of you, Francesca. You are too soft. +You weep too much. + +FRA. I do not weep the less +For having known you. + +GUI. So;--it will save you tears, then +To know me less. + +FRA. Oh, Guido, how your face +Is changed,--I cannot think those are the eyes +That looked into my eyes a month ago! +What's come between us? + +GUI. Nothing has come between us. +It is the simple snapping of a string +Too often played upon. + +FRA. Ah!--but I know +Who snapped it! It will do you little good +To look at her,--she'll never look at you! + +GUI. Be silent a moment!--Unless you would be silent +Longer! + +FRA. Indeed! I shall speak out my mind! +You go beyond yourself! There is proportion +Even in a nature like my own, that's twisted +From too much clinging to a crooked tree! +And this is sure: if you no longer love me, +You shall no longer strike me! + +MARIO. [Off stage.] Beatrice! +Wait for me! Wait! + +BEA. [Off stage.] Not I! Who does not run? +As fast as I run, shall be left behind me! + +GUI. They are coming here! I do not wish to see them! + +FRA. Oh, Guido! [She follows him off. Exeunt Guido and Francesca.] + + [Enter Beatrice, running, followed by Mario.] + +MAR. Beatrice, you run like a boy! +You whistle like a boy! And upon my word, +You are the only girl I ever played +At jousting with, that did not hold her sword +As if it were a needle! Which of us, +Think you, when we are married, will be King? + +BEA. When we are married! Sir, I'll have you know +There's an ogre to be tamed, a gem to be pried +From out a dragon's forehead, and three riddles +To be solved, each tighter than the last, before +A Princess may be wed! + +MAR. Even by a King? + +BEA. For Kings the rules are sterner!--One more riddle, +And a mirror that will show her always young. + +MAR. And if I do these things, then, will you have me, +Rose-Red? + +BEA. Maybe. And if you do not do them, +Maybe. Come--I will race you to the bridge! + +MAR. [Catching her hand,] Nay, not so fast!--Have you no wish to be +Beside me, ever, that you are forever running +Ahead? + +BEA. Indeed, if you would have the truth +It has come into my mind more times than once +It would be sweet to be beside you often. + +MAR. Rose-Red! + +BEA. Come--I will race you to the bridge! + + [Exeunt Beatrice and Mario.] + + + +Scene 2 + + [Court-yard of the palace at Fiori. Entire court assembled. + A band of strolling players, with a little stage + on wheels, are doing a Harlequinade pantomime to amuse + the young King Mario, the guest of honor. Beatrice sits + beside him. In this scene the two people who are oblivious + to the pantomime are Guido and Octavia. Guido is + apparently brooding over something. From time to time + he looks at Beatrice and Mario. Once, having gazed for + some moments at the pair, he looks at Octavia and sees + that she, too, is looking at them, which seems to satisfy + him. The Queen does not take her eyes from the two during + the entire scene. Beatrice and Mario do not conduct + themselves precisely as lovers, but they are very gay and + happy to be in each other's company, apparently. Lorenzo + watches the show with a benign, almost childish + interest.] + + [Pantomime begins.] + +GIO. You, Pierrot, are you not a little thick +For such a sorrowful fellow? + +PIERROT. Nay, indeed! +Sorrow may come to all. And 'tis amazing +How much a man may live through and keep fat. + + [Pantomime continues] + +CAR. Ho! Now he stumbles! Look you, Pantaloon, +If you were not so learned i' the head +You might know better where to put your feet! + +LAU. [To Carlotta.] 'Tis curious how it addles a man's bones +To think too much. + +CAR. Nay, truth. Wise men were ever +Awkward in the legs. + + [Pantomime continues.] + +RAFFAELE. Have at him, Polichinello. + +GIO. Lay on! Lay on! + +ANS. Leave not a nail of him! + +GIO. Dog! Would you have him write a book about you? + +LUIG. Spit him i' the liver! It is his only organ! + +BEA. [To Mario.] Nay, it is cruel. I cannot look at it. + +MAR. It is but play. + +BEA. Ay, but 'tis cruel play. +To be so mocked at!--Come, take heart, good Doctor! +'Tis a noisy fellow, but light withal!--Blow at him! + +GIO. [To Guido.] She has the softest heart that ever +I saw +In a hard woman. It may be, seeing she has pity +For one rogue, she has pity for another! +Mark you, my Guido, there is hope yet! + +GUI. Nay, +There's not. I have opened up my mind to her, +And she will none of me. + +GIO. [Jestingly.] That was the last thing +You should have done!--Speak,--did she give for answer +She loves the King? + +GUI. Not she. She gave for answer +She does not love the Duke. + + [Pantomime continues.] + +ANS. [To Colombine.] Ah, pretty lady! + +CAR. La, she is fickle! How she turns from one face +To another face,--and smiles into them all! + +FRAN. Oh, ay, but' tis the Pierrot that she loves. + + [Pantomime continues and comes to a close.] + + [All applaud.] + +LUIGI. Well done! + +ANS. Bravo! + +GIO. A monstrous lively play! + +BEA. Oh, is it over?--I would it were not over! + +MAR. And yet it pleased you not! + +BEA. When it pleased me not, +I looked at you. + +MAR. And when I pleased you not--? + +BEA. I looked at Harlequin. However, I saw him +But fleetingly. Pray, was he dark or fair? + +LUIGI. Laura! + +LAU. Who calls? La, it is only Luigi! + +LUIGI. Laura, there'll be a moon tonight. + +LAU. I' faith, +There was a moon last night. [She sighs.] + +LUIGI. At ten o'clock, +Were I by a certain gate, would you be there? +What say you? + +LAU. Ay,--if weariness overtook me, +And I could not get further! + +CAR. La, 'tis sun-down! + + [In the meantime the crowd has been breaking up and dispersing. + The curtain falls on the disappearing spectators and on Pierrot + and his troupe packing up their wagon to go to the next town.] + + + +Scene 3 + + [Fiori. A garden with a fountain. Evening.] + [Enter Octavia and Ladies.] + +OCT. It would amuse me if I had a lily +To carry in my hand. You there, Carlotta! +You have a long arm,--plunge it in the pool +And fish me forth a lily! + +CLAUDIA. Majesty, +They close at night. + +OCT. Well--we will open them. + +CAR. [Going to pool and scanning it.] Go to--I am not a frog! + +OCT. What did you say? + +ARIANNA. She says she sees a frog, Your Majesty. + +FRAN. [Aside to Carlotta.] +You are mad! Can you not keep your tongue in your head? + +CAR. Ay, I can keep it in my cheek.--There's one. +God grant it have an eel at the end of it,-- +I'll give the dame good measure. + + [While the ladies are at the pool enter Guido.] + +GUIDO. Greeting, madam! + +OCT. Who greets me?--Ah, it is the Duke. +Good even, Guido. You seek an audience with me? + +GUIDO. Nay--nay--but if you send away your women,-- +We shall be more alone. + +OCT. [After considering him a moment.] You may leave me now, +Laura, Francesca--all of you--and you would best go in +At an early hour, instead of walking the gardens +All night; I would have you with your wits +About you in the morning. + +LAU. [Aside.] Oh, indeed? +You would best go in yourself, lest the dew rust you, +You sauce-pan! [Exeunt ladies.] + +OCT. Now, my good sir,--you may speak. + +GUI. [As if by way of conversation.] +It is a long time, is it not, your daughter +Is absent from the court? + +OCT. Why say you that? + +GUI. Why but to pass the time, till she returns? + +OCT. Nay, Guido. That is well enough for some, +But not for me. I know the slant of your fancy; +'Tis not in that direction. + +GUI. Yet me thinks +The sooner she is back again at court +The happier for us both. + +OCT. "Us both"? What "both"? + +GUI. You Madam, and myself. + +OCT. And why for me? + +GUI. [Carefully.] Why, are you not her mother? + +OCT. Hah! [Pause.] Guido, +What festers in your mind? Do you speak out now, +If you await some aid from me. + +GUI. Madam, +I have but this to say: if I were a woman +With a marriageable daughter, and a King rode by, +I'd have her at the window. + +OCT. So. I thought so. + + [With an entire change of manner.] + +Guido, what think you,--does she love the King,-- +I mean Lorenzo's daughter? + +GUI. [Between his teeth.] Ay, she loves him. + +OCT. And loves he her? + +GUI. Oh, ay. He loves the moon, +The wind in the cypress trees, his mother's portrait +At seventeen, himself, his future children-- +He loves her well enough. But had she blue eyes +And yellow hair, and were afraid of snakes, +He yet might love her more. + +OCT. You think so, Guido? +I am content to learn you of that mind. +There had occurred to me--some time ago, +In fact--a similar fancy. And already +My daughter is well on her way home. + + [Exeunt Guido and Octavia.] + + [Music, Enter Beatrice and Fidelio. Fidelio strums his lute + softly throughout the next conversation, up to the words + "and cease to mock me."] + +BEA. Fidelio, +Were you ever in love? + +FID. I was never out of it. + +BEA. But truly? + +FID. Well. I was only out of it +What time it takes a man to right himself +And once again lose balance. Ah, indeed, +'Tis good to be in love, I have often noticed, +The moment I fall out of love, that moment +I catch a cold. + +BEA. Are you in love, then, now? + +FID. Ay, to be sure. + +BEA. Oh! Oh! With whom, Fidelio? +Tell me with whom! + +FID. Why, marry, with yourself,-- +That are the nearest to me,--and by the same troth, +The farthest away. + +BEA. Go to, Fidelio! +I am in earnest, and you trifle with me +As if I were a child. + +FID. Are you not a child, then? + +BEA. Not any more. + +FID, How so? + +BEA. I am in love. + +FID. Oh--oh--oh, misery, misery, misery, misery! + +BEA. Why do you say that? + +FID. Say what? + +BEA. "Misery, misery." + +FID. It is a song. + +BEA. A song? + +FID. Ay, 'tis a love-song. +Oh, misery, misery, misery, misery, oh! + +BEA. Nay, sweet Fidelio, be not so unkind! +I tell you, for the first time in my life +I am in love! Do you be mannerly now, +And cease to mock me, + +FID. What would you have me do? + +BEA. I would have you shake your head, and pat my shoulder, +And smile and say, "Godspeed." + +FID. [Doing so very tenderly.] Godspeed. + +BEA. [Bursting into tears.] I do not know if I am happy or sad. +But I am greatly moved. I would Bianca +Were here. I never lacked her near so much +As tonight I do, although I lack her always. +She is a long time gone.--If I tell you something, +Will you promise not to tell. + +FID. Nay, I'll not promise, But I'll not tell. + +BEA. Fidelio, I do love so +The King from Lagoverde! I do so love him! + +FID. Godspeed, Godspeed. + +BEA. Ay, it is passing strange; +Last week I was a child, but now I am not. +And I begin my womanhood with weeping; +I know not why.--La, what a fool I am! +'Tis over. Sing, Fidelio. + +FID. Would you a gay song, My Princess? + +BEA. Ay.--And yet--nay, not so gay. +A simple song, such as a country-boy +Might sing his country-sweetheart.--Is it the moon +Hath struck me, do you think? I swear by the moon +I am most melancholy soft, and most +Outrageous sentimental! Sing, dear fool. + +FID. [Singing.] +"Butterflies are white and blue +In this field we wander through. +Suffer me to take your hand. +Death comes in a day or two. +All the things we ever knew +Will be ashes in that hour. +Mark the transient butterfly, +How he hangs upon the flower. +Suffer me to take your hand. +Suffer me to cherish you +Till the dawn is in the sky. +Whether I be false or true, +Death comes in a day or two." + +CURTAIN + + + + +ACT III + +Scene 1--The following summer, + + [A field or meadow near Fiori. As the curtain rises voices are heard + off-stage singing a bridal song.] + +SONG: Strew we flowers on their pathway! +Bride and bride-groom, go you sweetly. +There are roses on your pathway. +Bride and bride-groom, go you sweetly. +Sweetly live together. + + [Enter Viola, Lilina, Lela, Arianna and Claudia, laden with + garlands, flowering boughs and baskets of flowers. They met + Anselmo coming from another direction, also bearing flowers.] + +VIO. How beautiful, Anselmo! Where did you find them? + +ANS. Close by the brook. + +LIL. You gathered all there were? + +ANS. Not by one hundredth part. + +LEL. Nay, is it true? +We must have more of them! + +ARI. And are they fragrant +As well? + +ANS. Ay, by my heart, they are so sweet +I near to fainted climbing the bank with them. + + [The ladies cluster about Anselmo and smell the flowers.] + +LIL. Oh! + +VIO. Ah! + +CLA. How drowsily sweet! + +LEL. Oh, sweet! + +ARI. What fragrance! + + [Enter Laura and Giovanna, followed by Carlotta and Raffaele.] + +LAU. La, by my lung! I am as out of breath +As a babe new-born! Whew! Let me catch the air! + + [She drops her flowers and seats herself beside them.] + +CAR. [to the younger ladies and Anselmo, by way of greeting.] +How hot the sun is getting. + +ANS. 'Tis nigh noon, I think. + +GIO. 'Tis noon. + +CLA. We must be starting back. + +LAU. Not till I get my breath. + +RAF. Come,--I will fan you. [He fans her with a branch,] + +LAU. Tis good--'tis very good--oh, peace--oh, slumber-- +Oh, all good things! You are a proper youth. +You are a zephyr. I would have you fan me +Till you fall dead. + +CAR. I tell you when it comes +To gathering flowers, much is to be said +For spreading sheets on the grass,--it gives you less +The backache. + +LAU. Nobly uttered, my sweet bird. + +GIO. Yet brides must have bouquets. + +CAR. And sit at home, +Nursing complexions, whilst I gather them, + +LIL. [Running to Carlotta, along, with Lela and Viola, and throwing her + arms about her.] +Nay, out upon you now, Carlotta! Cease now +To grumble so,--'tis such a pretty day! + +VIO. And weddings mean a ball! + +LEL. And one may dance all night +At weddings! + +LIL. Till one needs must dance to bed, +Because one cannot walk there! + +GIO. And one eats +Such excellent food! + +ANS. And drinks such excellent wine! + +CLA. And seldom will you see a bride and bridegroom +More beautiful and gracious, or whom garlands +Do more become. + +GIO. 'Tis so,--upon my sword!-- +Which I neglected to bring with me--'tis so, +Upon Anselmo's sword! + +CAR. Nay, look you, Laura! +You must not fall asleep! [to Raffaele] Have done, you devil! +Is it a poppy that you have there? [to Laura] Look you, +We must be starting back! [Laura rouses, then falls back again.] + +LAU. Ay, that we must. + +ARI. Where are the others? + +ANS. Scattered all about. +I will call to them. Hola! You fauns and dryads! +Where are you? + +VOICES. Here! Here! Is it time to go? + +ANS. Come this way! We are starting back! + +VOICES. We are coming! +We'll come in a moment! I cannot bear to leave +This place! + +GIO. [As they enter] A thousand greetings, Clara! +Lucia, a thousand greetings! How now, Luigi! +I know you, man, despite this soft disguise! +You are no flower-girl! + +LUI. I am a draught-horse, +That's what I am, for four unyielding women! +Were I a flower-girl, I'd sell the lot +For a bit of bread and meat--I am so hungry +I could eat a butterfly! + +CAR. What ho. Francesca! +I have not seen you since the sun came up! + +FRA. This is not I,--I shall not be myself +Till it goes down! + +LEL. Oh, la, what lovely lilies! + +FRA. Be tender with them--I risked my life to get them! + +LIL. Where were they? + +FRA. Troth, I do not know. I think +They were in a dragon's mouth. + +LAU. [Suddenly waking] Well, are we going? [All laugh.] + +LUI. No one is going that cannot go afoot. +I have enough to carry! + +LAU. Nay; take me too! +I am a little thing. What does it matter-- +One flower more? + +LUI. You are a thousand flowers, +Sweet Laura,--you are a meadow full of them-- +I'll bring a wagon for you. + +CAR. Come. Come home. + + [In the meantime the stage has been filling with girls and men + bearing flowers, a multitude of people, in groups and couples, + humming the song very softly. As Carlotta speaks several more + people take up the song, then finally the whole crowd. They move + off slowly, singing.] + +SONG. "Strew we flowers on their pathway," etc. + + +Scene 2 + + [Bianca's boudoir in the palace at Fiori. Bianca with a mirror in + her hand, having her hair done by a maid. Several maids about, + holding perfume-flasks, brushes, and veils, articles of apparel of + one sort or another. Beatrice standing beside her, watching.] + +BIA. Look at me, Rose-Red. Am I pretty enough, +Think you, to marry a King? + +BEA. You are too pretty. +There is no justice in it. Marry a cobbler +And make a king of him. It is unequal,-- +Here is one beggarly boy king in his own right, +And king by right of you. + +BIA. Mario is not +A beggarly boy! Nay, tell me truly, Beatrice, +What do you think of him? + +BEA. La, by my soul! +Have I not told you what I think of him +A thousand times? He is graceful enough, I tell you, +And hath a well-shaped head. + +BIA. Nay, is that all? + +BEA. Nay, hands and feet he hath, like any other. + +BIA. Oh, out upon you for a surly baggage! +Why will you tease me so? You do not like him, +I think. + +BEA. Snow-White! Forgive me! La, indeed, +I was but jesting! By my sacred word, +These brides are serious folk. + +BIA. I could not bear +To wed a man that was displeasing to you. +Loving him as I do, I could not choose +But wed him, if he wished it, but 'twould hurt me +To think he did not please you. + +BEA. Let me, then, +Set your sweet heart at rest. You could not find +In Christendom a man would please me more. + +BIA. Then I am happy. + +BEA. Aye, be happy, child. + +BIA. Why do you call me child? + +BEA. Faith, 'tis the season +O' the year when I am older than you. Besides +A bride is always younger than a spinster. + +BIA. A spinster! Do you come here to me, Rose-Red, +Whilst I pinch you smartly! You, Arianna, push me +Her Highness over here, that I may pinch her! +[To Loretta.] Nay, is it finished? Aye, 'tis very well. +Though not so well, Loretta, as many a day +When I was doing nothing!--Nay, my girl, +'Tis well enough. He will take me as I am +Or leave me as I was. --You may come back +In half an hour, if you are grieved about it, +And do it again. But go now,--all of you. +I wish to be alone. [To Beatrice.] Not you. + + [Exeunt all but Bea. and Bia.] + +Oh, Rose-Red, +I trust 'twill not be long before I see you +As happy as you see me now! + +BEA. Indeed, +I could not well be happier than I am. +You do not know, maybe, how much I love you. + +BIA. Ah, but I do,--I have a measure for it! + +BEA. Ay, for today you have. But not for long. +They say a bride forgets her friends,--she cleaves so +To her new lord. It cannot but be true. +You will be gone from me. There will be much +To drive me from your mind. + +BIA. Shall I forget, then, When I am old, I ever was a child? +I tell you I shall never think of you +Throughout my life, without such tenderness +As breaks the heart,--and I shall think of you +Whenever I am most happy, whenever I am +Most sad, whenever I see a beautiful thing. +You are a burning lamp to me, a flame +The wind cannot blow out, and I shall hold you +High in my hand against whatever darkness. + +BEA. You are to me a silver bell in a tower. +And when it rings I know I am near home. + +Scene 3 + + [A room in the palace. Mario alone. Enter Beatrice.] + +BEA. Mario! I have a message for you!--Nay, +You need not hang your head and shun me, Mario, +Because you loved me once a little and now +Love somebody else much more. The going of love +Is no less honest than the coming of it. +It is a human thing. + +MAR. Oh, Beatrice! +What can I say to you? + +BEA. Nay, but indeed. +Say nothing. All is said. I need no words +To tell me you have been troubled in your heart, +Thinking of me. + +MAR. What can I say to you! + +BEA. I tell you, my dear friend, you must forget +This thing that makes you sad. I have forgotten, +In seeing her so happy, that ever I wished +For happiness myself. Indeed, indeed, +I am much happier in her happiness +Than if it were my own; 'tis doubly dear, +I feel it in myself, yet all the time +I know it to be hers, and am twice glad. + +MAR. I could be on my knees to you a lifetime, +Nor pay you half the homage is your due. + +BEA. Pay me no homage, Mario,--but if it be +I have your friendship, I shall treasure it. + +MAR. That you will have always. + +BEA. Then you will promise me +Never to let her know. I never told her +How it was with us, or that I cherished you +More than another. It was on my tongue to tell her +The moment she returned, but she had seen you +Already on the bridge as she went by, +And had leaned out to look at you, it seems, +And you were looking at her,--and the first words +She said, after she kissed me, were, "Oh, sister, +I have looked at last by daylight on the man +I see in my dreams!" + +MAR. [Tenderly.] Did she say that? + +BEA. [Drily.] Ay, that +Was what she said.--By which I knew, you see, +My dream was over,--it could not but be you. +So that I said no word, but my quick blood +Went suddenly quiet in my veins, and I felt +Years older than Bianca. I drew her head +Down to my shoulder, that she might not see my face, +And she spoke on, and on. You must not tell her, +Even when you both are old, and there is nothing +To do but to remember. She would be withered +With pity for me. She holds me very dear. + +MAR. I promise it, Rose-Red. And oh, believe me, +I said no word to you last year that is not +As true today! I hold you still the noblest +Of women, and the bravest. I have not changed. +Only last year I did not know I could love +As I love now. Her gentleness has crept so +Into my heart, it never will be out. +That she should turn to me and cling to me +And let me shelter her, is the great wonder +Of the world. You stand alone. You need no shelter, +Rose-Red. + +BEA. It may be so. + +MAR. Will you forgive me? + +BEA. I had not thought of that. If it will please you, +Ay, surely.--And now, the reason for my coming: +I have a message for you, of such vast import +She could not trust it to a liv'ried page, +Or even a courier. She bids me tell you +She loves you still, although you have been parted +Since four o'clock. + +MAR. [Happily.] Did she say that? + +BEA. Ay, Mario. +I must return to her. It is not long now +Till she will leave me. + +MAR. She will never leave you, +She tells me, in her heart. + +BEA. [Happily.] Did she say that? + +MAR. Ay, that she did, and I was jealous of you +One moment, till I called myself a fool. + +BEA. Nay, Mario, she does not take from you +To give to me; and I am most content +She told you that. I will go now. Farewell, +Mario! + +MAR. Nay, we shall meet again, Beatrice! + + +Scene 4 + + [The ball-room of the palace at Fiori, raised place in back, + surmounted by two big chairs, for Lorenzo and Octavia to sit while + the dance goes on. Dais on one side, well down stage, in full sight + of the audience, for Mario and Bianca. As the curtain rises the + stage is empty except for Fidelio, who sits forlornly on the bottom + steps of the raised place in the back of the stage, his lute across + his knees, his head bowed upon it. Sound of laughter and + conversation, possibly rattling of dishes, off stage, evidently a + feast going on.] + +LAU. [Off stage.] Be still, or I will heave a plate at you! + +LUIGI. [Off stage.] Nay, gentle Laura, heave not the wedding-crockery, +At the wedding-guest! Behold me on my knees +To tell the world I love you like a fool! + +LAU. Get up, you oaf! Or here's a platter of gravy +Will add the motley to your folly! + +LUIGI. Hold her, +Some piteous fop, that liketh not to see +Fine linen smeared with goose! Oh, gracious Laura, +I never have seen a child sucking an orange +But I wished an orange, too. This wedding irks me +Because 'tis not mine own. Shall we be married +Tuesday or Wednesday? + +LAU. Are you in earnest, Luigi? + +LUIGI. Ay, that I am, if never I was before. + +LAU. La, I am lost! I am a married woman! +Water!--Nay, wine will do! On Wednesday, then. +I'll have it as far off as possible. + + [Enter from banquet-room Guido, Giovanni and Raffaele.] + +GIO. Well met, Fidelio! Give us a song! + +FID. Not I! + +GUI. Why, is this? You, that are dripping with song +Weekdays, are dry of music for a wedding? + +FID. I have a headache. Go and sit in a tree, +And make your own songs. + +RAF. Nay, Fidelio. +String the sweet strings, man! + +GIO. Strike the pretty strings! + +GUI. Give us the silver strings! + +FID. Nay then, I will that! + + [He tears the strings off the lute and throws them in Guido's face.] + +Here be the strings, my merry gentlemen! +Do you amuse yourselves with tying knots in them +And hanging one another!--I have a headache. + + [He runs off, sobbing.] + +RAF. What ails him, think you? + +GIO. Troth, I have no notion. + + [Enter Nurse.] + +GUI. What ho, good Grazia! I hear my uncle +Is ill again! + +GRA. Where heard you that, you raven? + +GUI. Marry, I forget. Is't true? + +GRA. It is as false +As that you have forgotten where you heard it. +Were you the heir to his power, which I bless God +You're not!--he'd live to hide the throne from you +Full many a long day yet!--Nay, pretty Guido, +Your cousin is not yet Queen,--and when she is--Faith, +She weareth a wide petticoat,--there'll be +Scant room for you beside her! [Exit Nurse across stage] + +GUI. [To his companions.] None the less +I do believe the king is ill. + +RAF. Who told you? + +GUI. His wife. She is much exercised about him. + +GIO. 'Tis like enough. This woman would rather lie +Than have her breakfast served to her in bed. + + [Exeunt Guido, Giovanni and Raffaele.] + + [Music. Enter Musicians and take place on stage. Enter four pages + and take places on either side the door as from the banquet-hall and + on either side the throne in the back. Enter King and Queen, that is + to say Lorenzo and Octavia, Lorenzo apparently quite well, and seat + themselves on throne in back. Enter courtiers and ladies, Carlotta + with Anselmo, Laura with Luigi, etc., and stand in little groups + about the stage, laughing and talking together. Enter Beatrice + alone, her train held by two pages in black. Enter twelve little + Cupids, running, and do a short dance in the center of the room, + then rush to the empty dais which is awaiting Mario and Bianca, and + cluster about it. Enter Bianca and Mario, she in white and silver, + with a deep sky blue velvet train six yards long, held up by six + silver pages [or Cupids]; he in black and gold, with a purple velvet + train of the same length held by six gold pages [or Cupids]. His arm + is about her waist, she is leaning back her head against him and + looking up into his face. They come in slowly, talking softly + together, as utterly oblivious of the court, the pages, the music, + everything, as if they were a shepherd and a shepherdess walking + through a meadow. They walk slowly across the stage and seat + themselves on the dais. The music changes, strikes up a gay pavane, + or the equivalent of the period of the costumes, the ladies and + courtiers dance. Guido, Giovanni and Raffaele re-enter just as the + music starts and go up to the ladies; Guido goes to Beatrice, and + she dances with him. In the midst of the dance Lorenzo slips a + little sidewise in his chair, his head drops forward on his chest; + he does not move again. Nobody notices for some time. The dance + continues, all who are not dancing watching the dancers, save + Octavia, who watches with great pride and affection Bianca and + Mario, who in turn are looking at one another. Octavia turns finally + to speak to Lorenzo, stares at him, touches him, then screams. + Beatrice should then be in a conspicuous place in the dance. Music + stops in confusion on a dischord, dance breaks up wildly, everybody + rushes to throne.] + + +Scene 5 + + [The same room later that evening, entirely empty, disordered. + Musicians' benches overturned, for example, a couple of instruments + left about, garlands trampled on the floor, a wing of one of the + Cupids clinging to the dais of Bianca and Mario. Enter Beatrice, + weeping, goes to her father's throne and creeps up into it, with her + face towards the back of it and clings there, sobbing quietly. Enter + Bianca and Mario,] + +BIA. [Softly.] Ay. She is here. I thought she would be here. +There are so many people by his bed +Even now, she cannot be alone with him. + +MAR. Is there no hope? + +BIA. Nay, there is none. 'Tis over. +He was a kind old man. + +MAR. Come, let us go, +And leave her to herself. + +BIA. Nay, Mario. +I must not leave her. She will sit like that +All night, unless I bid her come away, +And put her into bed. + +MAR. Will you come to me +After she sleeps? + +BIA. Ay. If she sleeps, + +MAR. And if not? + +BIA. I could not leave her. + +MAR. Bianca, do you love me? + +BIA. Ay, Mario! + +MAR. Ah, but not as I love you! + +BIA. You do not mean that, Mario; you know +How much I love you. But I could not be happy +Thinking of her awake in the darkness, weeping, +And all alone. + +MAR. Oh, my sweet love. + +BIA. It may be +She will sleep. + +MAR. I shall be waiting for you. [They embrace.] + + [Exit Mario. Bianca goes to Beatrice and sits at the + foot of the throne, putting her head against Beatrice's + feet.] + +BIA. Sister. + + [After a moment Beatrice slowly reaches down her hand, and + Bianca takes it.] + +CURTAIN + + + + +ACT IV + +Scene 1--Five years later. + + [A marketplace in Fiori, vegetables, fruits and flowers exposed for + sale in little stalls and wagons, crowd of townspeople moving about, + talking, laughing, buying. Group of children playing a game in a + ring. Supper time.] + +CHILDREN. One, two, three, +The dough is in the oven! +One, two, three, +The bread is on the board! +One, two, three. +The dough is in the oven! +One, two, three, +The bread is on the board! +One, two, three, +All follow me! + +EUGENIA. Good-even, Giovanitta. Those are beautiful +Onions you have there. + +GIO. Ay, it has been a good year +For onions. + +EUG. I am taking seven. + +GIO. Each year, +You buy another onion! + +EUG. Faith, each year +I have another mouth to thrust it in! +Beautiful carrots, too, you have. + +GIO. Ay, carrots +Are well enough. One cannot complain. 'Tis a good year +For carrots. + +CLARA. 'Tis a good year for many things. +Prices are low,--but not too low for profit. + +GIULIANA. And there are fewer taxes than there once were +On things one cannot live without. + +ANNA. 'Tis a good Queen +We have, it must be granted. + +GIO. Ay, and a wise one. + +GILDA. And pretty, too. + +GIULIANA. Ho, ho! When did you see her? + +GILDA. This morning, mother. I was at the edge of the wood +With Beppo, when they rode by to the hunt, +Talking together, and laughing. + +BEPPO. [Calling from across the stage.] And the horses +With feet like this! +[Arching his hands and feet to represent a horse stepping delicately.] + +GILDA. And glittering in the sunshine +In a thousand places, mother! I wanted to tell you +When we returned, but you had gone to the brook +With the linen. They were so near us we could hear them +Talking. + +BEPPO. [Coming up.] And hear the horses breathe! + +ANNA. What said they? + +GILDA. Well, one of them said--what was the name? + +BEPPO. Anselmo. + +GILDA. Oh, ay. She said, "Anselmo, am I getting thinner +Do you think? If I be not thinner than I was at starting, +I shall descend at once! I like not this; +It chatters my teeth." + +BEPPO. And then she said-- + +GILDA. What said she? +Oh, ay,--about the boat. + +BEPPO. She said, "Next time +I shall go fishing instead of hunting. A boat +Hath a more mannerly gait!" + +GILDA. There was one horse, mother, +That was all white! There was not one hair upon him +That was not white! + +GIULIANA. And who was riding that horse? + +BEPPO. A man. And riding well. + +GILDA. He was dressed in green, +And had a yellow beard. And there was a lady +With hair the color of Adelina's, bright +Like fire. She was dressed in blue, and was most beautiful. + +BEPPO. And she was mounted on a dappled mare. + +GILDA. But, oh, it was the Queen that was more lovely-- +Than any of the rest! + +GIO. How did you know, now, +It was the Queen? + +GILDA. Nay, but you could not help +But know! She was not laughing like the rest,-- +Just smiling; and I would not have been afraid +To toss a flower to her from the wood, +If I had had a flower. + +BEPPO. You knew her, though, +Because she was in scarlet. All the world knows +She wears a scarlet mantle! + +GILDA. Nay, if that were all, +It might have been the Pope! + +BEPPO. I would it had been. +I never saw the Pope. + +GILDA. You never saw +The Queen until this morning!--Mother, she rides +Clothed like a man, almost! + +BEPPO. With sword at side! + +GILDA. And, oh, the sword had a jeweled--what is the name of it? + +BEPPO. Scabbard, of course! + +GILDA. A jeweled scabbard, mother! +I wish I were a queen. + +BEPPO. Ho, you would make +A proper queen, with that droll nose of yours! + +GILDA. I know a boy who likes my nose! + +BEPPO. Ho, ho! +He must be a hunch-back! + +GIULIANA. You must not tease her, Beppo. + +GILDA. I wish I were queen. If I were a queen, +You would not dare to say my nose is droll. + +BEPPO. It would be, all the same. + +GIO. You should be content +With what you have, not cry to rise beyond it. +It is a sin to covet. + +GIULIANA. Being a queen, +My bird, is not all riding to the hunt +Of a sunny morning. + +ANNA. Nay, 'tis riding back +At times, of a rainy night, to such a burden +Of cares as simple folk have little mind of. + +GILDA. I'd rather have a queen's cares than my own. + +BEPPO. Ho, ho! Your cares! What cares have you? + +GILDA. I have +A brother that will be teasing me all times! +'Tis cares enough for one, I tell you. + +ADELINA. [Across stage.] Beppo! +Come help me fetch the milk! + +GILDA. Oh, Mister Beppo, +Your sweetheart calls you! Run and fetch the milk! + +LEONORA. [From a house, coming out.] Come in to supper, children! + +RIGO. Oh, not just yet! + +ELENORA. Father's not home yet! + +LEONORA. You need not wait for him. + +LOUIS. May we come out again? + +LEONORA. [Joining other women.] Ay, for a time. +Till it gets dark. + +RIGO. [To Louis.] 'Tis dark now, almost. + +LOUIS. Hush! +She does not know it. + +GIULIANA. 'Tis dark now. + +LEONORA. Ay, I know. +I let them play a little after dark +Sometimes, when the weather's fine. I would not have them +Afraid of shadows. They think I do not know +Darkness from light. + +ELENORA. There's father now! + +RIGO. I see him! + + [Elenora, Louis and Rigo run off the stage and along the path.] + +LEONORA. He is late home today. I cannot think +What may have held him. 'Twill be deep night already +In the woods. + +CESCO. [Off stage, harshly.] Down! Down! Do you run back to your mother! +See you not I am in haste?--Hang not upon me! + +EUG. La! He is in a temper! + +LEO. I never knew him +So out of patience with them. + +GIU. He is hungry, maybe. + +LEO. He is often hungry, but I never knew him +So out of patience. [The children come running back. To Elenora.] +Why do you weep, my heart? + +LUI. Father is someone else tonight. + +ELENORA. [Weeping.] He pushed me! + + [Enter Cesco, with game on his shoulder, or a basket of mushrooms.] + +SEVERAL WOMEN. Good-even, Cesco. + +CES. [To Leonora.] Look you, Leonora, +Have we a bed fit for a queen to lie in? + +LEO. Nay, faith! Not we! + +GIL. She can have my bed, mother. + +GIN. Ay, true. There is a bed in my house, Cesco. + +GIO. What will the queen do here? + +GIU. I would indeed +She had let us know that she was coming! + +CES. The Queen +Knew not herself. Nor is she coming of herself. +They are bringing her,--on a litter of crossed boughs, + +GIL. She is not dead? + +CES. Nay. Wounded in the arm +A little, and in a swoon. But the young King +Of Lagoverde is no more! + +WOMEN. How so? + +CES. I tell you my two eyes have looked this day +On a sad and useless thing!--A fine lad, young, +And strong, and beautiful as a lad may be, +And king of a fair country, thrust from horse +By a foul blow, and sprawled upon the ground,-- +Legs wide asunder, fist full of brown mud, +Hair in his eyes,--most pitiful unkingly! +Bring me a mug of wine, good wife! [Leonora goes out.] + +GIO. You, Gilda! +There is a queen you would not be tonight, +I'll warrant you,--the Queen of Lagoverde, +With her two fatherless babes! + +EUG. Nay, now, good Cesco, +What is this matter? + +CES. You'll know it quick enough. +They will be bringing the queen here ere I have breath +To tell you. They are coming by the road, +I took the mountain-path, and ran. + +GIU. I must hasten +To put fresh sheets on. [To Gilda.] Look you,--listen well +If he should talk, and tell me afterwards. [Exit.] + +EUG. Here comes Horatio! The boats are in. + + [Some children rush down to the water-side.] + +A good day, husband? + +HOR. Ay, a heavy day. +What think you of that?--A big one, eh?--Came in +With a school of little fish,--too greedy that time! +What happens here?--The air is full of breathing! + + [The men come up from the boats with children clinging to them. + Beppo and Adelina return from another direction with the milk.] + +LEO. [Somewhat proudly.] Cesco will tell you. + +CES. In a word 'tis this: Today the Queen of Fiori, +Returning from the hunt, is set upon +By brigands; where at the King of Lagoverde, +Being hunting in that quarter and hearing cries, +Comes up to give his aid; in rendering which +He gives his life as well, and at this moment, +On other men's legs, goes heavily home to supper. +The Queen of Fiori, wounded, and in a swoon +Only less deep than death itself, comes this way. + +CROWD. Ay, here they come! [Enter Anselmo.] + +ANS. Make way, make way, good people-- +Fall back a little--leave a clear space--give air! + + [Enter Laura and Francesca, Luigi, several gentlemen, several + attendants, four of them bearing a litter on which lies Beatrice, in + a scarlet cloak, her hair flowing. Luigi is with Laura, who clings + to him. If possible to arrange, several of the party may lead on + their horses and lead them off across the stage. The litter is set + down stage in full sight of the audience. Beppo comes down stage + near it, as does also, from another direction, Gilda. Giuliana + returns.] + +ANS. Who has a bed that we may lay her on? +She cannot leave this place tonight. + +GIU. This way, sir. + + [The attendants pick up the litter and go off, the crowd following.] + +GIL. [Stealing back.] Hist, Beppo! + +BEPPO. Ay? + +GIL. Heard you not something fall, +When they picked her up again? + +BEPPO. Ay, that I did. + +GIL. What was it, think you? [They search.] Nay, 'twas nearer here. + +BEPPO. I have it.--'Tis her sword! + +GIL. The Queen's? Ay,--truly. +How beautiful! + +BEPPO. [Slowly and with awe drawing it from its scabbard.] +Look,--there is blood on it! + + + +Scene 2 + + [A room in the palace at Lagoverde. Bianca and her two little + daughters discovered at the rise of the curtain, she in a big chair, + they at her feet.] + +BIA. And so the fairy laid a spell on her: +Henceforth she should be ugly as a toad. +But the good fairy, seeing this was done, +And having in no wise power to alter this, +Made all toads beautiful. + +LITTLE ROSE-RED. They are not beautiful +Now, mother! + +LITTLE SNOW-WHITE. That was in another country!-- +What country, mother? [Bianca, lost in thought, does not answer.] + +LITTLE ROSE-RED. Where is father, mother?-- +I have not seen him in so many days! + +BIA. Father is gone away. + +LITTLE ROSE-RED. Will he come back? + +BIA. Nay. He will not come back. But we shall go +Where he is. + +LITTLE SNOW-WHITE. Soon? + +BIA. God grant it may be soon! +Now---shall we play a game? + + [Enter Octavia.] + +OCT. Bianca. + +BIA. Ay. + +OCT. It is a folly to remain indoors +Like this. You should be out in the sunshine. + +BIA. Nay. +I have no business with the sunshine. + +OCT. Ah, +My daughter, say not so!--The children, then,-- +They have much need of it, and they have need +Of you, at the same time. Take them without. + +BIA. I do not wish to be in the sunshine. + +LITTLE SNOW-WHITE. Mother, +Come out of doors! + +OCT. You see, now! + +BIA. Do you run out, dears, +And play at ball. Mother will join you later. + +LITTLE ROSE-RED. Where is my ball? + +BIA. Nay, do you not remember? +We put it in the ear of the stone griffin, +Because he hears too much. + +LITTLE ROSE-RED. Ay, so we did! + +LITTLE SNOW-WHITE. Come on, Rose-Red! [Exeunt children.] + +OCT. It is a curious thing +This friend of yours you rate so monstrous high +Has not come nigh you in your sore affliction! + +BIA. I beg you not to speak of that again, +Mother. 'Tis the third time today you have said that, +Or hinted at it. And I answer always, +"There is some reason for it," as I should answer +Though you cried daily till the day of doom, +"It is a curious thing!" There is some reason, +There is some good reason why she does not come. + +OCT. Oh, ay, I doubt it not! But there are reasons +And reasons! + +BIA. And what am I to learn from that? + +OCT. 'Tis scarce by reason of too much love for you +She leaves you friendless in your greatest need. + +BIA. I cannot say. 'Tis one thing or another. +You have no words can turn me to believe +She has forgotten me, or loves me less. +'Tis a big thing, to leave me thus alone,-- +And there is some big reason. + +OCT. Ay. Oh, ay. +'Tis possible she grieves for Mario's death +No less than you, + +BIA. [Simply] Ay, it is possible. +I mind she told me on my marriage-day +She was as happy as I. + +OCT. 'Tis a curious thing, +When he was here she came to see you often, +But now that he is gone comes not at all. + +BIA. [Simply.] Ay, it is curious. [Catching Octavia's expression.] + +BIA. Nay, what evil thing +Is in your mind, gives you that evil smile? + +OCT. Only a little thought. + +BIA. A little thought, +I'll warrant you!--You'd have me to believe +She loved my husband? + +OCT. Ay, I know she loved him. + +BIA. It is a lie! + +OCT. How dare you say I lie! + +BIA. Oh, do not be so proud! Let us speak truth +At length, a little! We are so garnished up +With courtesies, so over-sauced and seasoned, +We cannot taste each other! Why do you tell me +A thing like that?---You have no love for me! + +OCT. [Weeping,] I love you too much--you are the only thing +I do love! + +BIA. Nay, it is not love of me +For my own self. Else would you do the thing +Would make me happiest. You know how I have loved her, +Since we were children. You could not be to me +What she was; one forgets too many things. +You could not know my thought. I loved you dearly; +But you were hard to love; one never knew +Whether you would be hot or cold to touch. +Whilst she and I,--oh, we were two young trees +So nearly of a height we had the same world +Ever within our vision!--Yet all these years, +Even from the time we first went to Fiori, +You have been bearing me your little tales,-- +"She had done this and that, she was thus and so--", +Seeking to stir and poison the clear water +Of my deep love for her! And now this thing. +Which is not true. But if it had been true, +It would not be so out of all reason cruel +As that you should have told me of it now. +Nay, do not weep. All day 'tis one of us +Making the other weep. We are two strange, +Unhappy women. Come, let us be at peace. + + [Pause. Bianca rises suddenly.] + +Mother, farewell a little while. I go now +To her, seeing that she does not come to me. +But not to question her, not to demand, +"How comes it this? What can you say to that?" +Only to sit beside her, as in the old days, +And let her lay her quiet on my heart. + + + +Scene 3 + + [The garden at Fiori, same as in Act I, Scene 1. Discovered seated + on a stone bench in the sunshine, Beatrice, clad in a loose gown, + looking very ill. Fidelio sings off stage.] + +FID. [Singing.] +"Let the little birds sing, +Let the little lambs play. +Spring is here, and so 'tis spring,-- +But not in the old way. + +I recall a place +Where a plum-tree grew,-- +There you lifted up your face +And blossoms covered you. +If the little birds sing, +And the little lambs play, + +Spring is here, and so 'tis spring,-- +But not in the old way. + +BEA. It is a pretty song. There be some things +That even the tortured heart's profoundest anguish +Cannot bring down from their high place. Music +Is one of them. [Enter Grazia carrying a bowl.] + +GRA. Now, will you drink this broth, +Or will you not? I swear upon my shroud-- +And 'tis a solemn oath--I never nursed +So vaporous a patient!--Come, my bird! + +BEA. [Taking the bowl, then setting it down.] Nay, Nurse, I cannot. + +GRA. Oh, alackaday! +What shall I do with you? Come now, and drink me +The pretty broth, my dear! + +BEA. I will drink it later. +'Tis too hot. + +GRA. Ay, and in a moment 'twill be +Too cold! And you'll not drink it! I could cry! + + [Exit Grazia.] + [Enter Fidelio.] + +BEA. Fidelio, as you love me, do you drink this, +And quickly, man! + +FID. [With grief.] Oh, my dear mistress! + +BEA. Drink! + +FID. [Sadly, drinking.] I best would leave a little, else she'll know +'Twas never you. + +BEA. Ay, so you would. I' faith, +It is a knave's trick, but I cannot touch it. +Go now, Fidelio, ere she come again. + + [Exit Fidelio.] + [Enter Bianca.] + +BIA. [Softly.] Rose-Red. + + [Beatrice looks up and listens, thinking it a dream.] + +BIA. Rose-Red, dear sister! + +BEA. [Bowing her head and weeping.] Oh, my heart! + +BIA. [Coming towards her.] Why do you weep? + +BEA. [Looking up startled and seeing her, jumping to her feet.] +Oh, no! Oh, God above! +Go back! Go back! + +BIA. [Amazed, quietly.] Beatrice, are you mad? +'Tis I, Bianca. + +BEA. [More quietly.] Ay, I know 'tis you. +And you must go away. + +BIA. [Breaking down.] You are mad, my dear! + +BEA. I would I were. For madmen have their moments +Of light into the brain.--Hear me. Bianca, +You must return at once to Lagoverde, +And come to me no more, and think of me +No more. + +BIA. Ay. I will go. But ere I go +Tell me you do not love me, 'Tis apparent +You do not. I but wish to hear the words. + +BEA. Nay, that I will not say. It would be well, +To say it, and let it be. But I'll not say it, +It is not true. + +BIA. You love me still? + +BEA. I love you +More than all else on earth. But I have wronged you +So hugely that I cannot think of it +And stand here talking with you--I am ill--[She staggers.] +You must pardon me--I have been very ill-- + +BIA. Then it is true? + +BEA. [With a cry as of relief.] Ay, it is true! Who told you? + +BIA. My mother told me. I said it was not true. +But if 'tis true--I pity you, Rose-Red, +I pity him. I pity us all together. + +BEA. [Feverishly.] Ah, I can see it now!--the quiet road +In the deep wood's gathering darkness, the reins loose +On the horses' necks, that nodded, nodded, and we +Speaking from time to time, and glad to think +Of home,--and suddenly out of nowhere,--fury, +And faces, and long swords, and a great noise! +And even as I reached to draw my sword, +The arm that held the scabbard set on fire, +As if the sleeve were burning!--and my horse +Backing into the trees, my hair caught, twisted, +Torn out by the roots! Then from the road behind +A second fury! And I turned, confused, +Outraged with pain, and thrust,--and it was Mario! + +BIA. [Wildly.] What are you saying? What are you saying? What is this +You are telling me? That it was you? Your hand--? +Oh, God have mercy upon me! Let me go! + +BEA. [Pitifully, reaching out her arms towards her.] +Snow-White! Snow-White!--farewell! + +BIA. [Without turning.] Oh, God have mercy! + + [Exit Bianca.] + + [Beatrice falls unconscious to the floor.] + +CURTAIN + + + + +ACT V + +Scene 1 + + [A room in the palace at Fiori. Anselmo and Luigi.] + +LUIGI. Nay, is that true, Anselmo? + +ANS. Aye, 'tis true. +But no one saw save me, I drew her sword +Out of his heart and thrust it in its scabbard, +Where she lay senseless. + +LUI. Oh, unhappy Queen! + +ANS. Ay, she does not forget. Has it not struck you +She rides no more? Her black horse stands in stable, +Eating his head off. It is two years now +Since she has visited Lagoverde; and the Queen +Of Lagoverde comes not nigh this place. + +LUI. There's not the reason that there was to come +Before Octavia's death. + +ANS. Nay, 'tis not that. + +LUI. Think you that Beatrice told her? + +ANS. Ay, +I doubt it not. + +LUI. 'Tis hard. They were close friends. + +ANS. And since that day her hand upon the scepter +Trembles,--and Guido sees. She goes too much +Among the people, nursing them. She loves them; +Their griefs are hers, their hearts are hers, as well. +But Guido has a following in this court +That hangs upon his word, and he has taught them +Her gentleness is weakness, and her love +Faint-hearted womanish whims, till they are eager +To pull her down, and see a man in place of her. + +LUI. Her throne is like a raft upon a sea, +That shifts, and rights itself, and may go down +At any moment. + +ANS. The more especially +For all these drowning beggars that cling to it, +Chattering for help. She will not strike them off. + +LUI. Unhappy Queen. And there's a storm approaching, +If ever I smelled wind. + +ANS. I fear it Luigi. + + [Exeunt Anselmo and Luigi. Enter Guido and Francesco.] + +FRA. How do I know you love her still?--I know, +The way you fall a-tapping with your fingers, +Or plucking at your eye-brows, if her name +Is spoken, or she move across the court. +How do I know?--Oh, Guido, have I learned you +So little, then, in all these bitter years? +I know you very well. + +GUI. You know too much +I'll have an end of this, I tell you! + +FRA. Ay. +You've told me that before.--An end of what? +What is this thing you'll put this mighty end to? +'Fore God I would I know. Could I but name it, +I might have power to end it then, myself! + +GUI. I'll have an end of these soft words at twilight, +And these bad mornings full of bile! I'll have an end +Of all this spying on me! + +FRA. [Gently.] 'Tis not so. +I do not spy upon you. But I see you +Bigger than other men, and your least gesture-- +A giant moving rocks.--Oh, Guido, tell me +You do not love her! Even though I know +You lie, I will believe you,--for I must! + +GUI. [Pause.] Nay, I am done with you. I will tell you nothing. +Out of my way!--I have that on my mind +Would crush your silly skull like the shell of an egg! +Od's body, will you keep your ugly claws +From scratching at my sleeve? + + [He thrusts her roughly aside and rushes out.] + +FRA. [Creeping away, sobbing.] Oh, God--oh, God-- +I would whatever it is, that were over. + + [Exit.] + + [Enter Fidelio, and crosses the stage, singing.] + +FID. [Singing.] +"Rain comes down +And hushes the town. +_And where is the voice that I heard crying_? +Snow settles +Over the nettles. +_Where is the voice that I heard crying_? +Sand at last +On the drifting mast. +_And where is the voice that I heard crying_? +Earth now +On the busy brow. +_And where is the voice that I heard crying_? + + [Exit Fidelio.] + +Scene 2 + + [The court-room in the palace at Fiori, extremely crowded with restless + and expectant people. The crowd is arranged on both sides of the stage, + in such a way that a broad avenue is left in the middle, leading from + the footlights to the back of the stage and gradually narrowing to a + point at Beatrice's throne. On the extreme right and left of the stage, + along the back of the crowd, stands the guard, a large body of armed + soldiers, at attention, in double row. On either side the throne stands + an armed soldier. As the curtain rises the court is all standing and + looking off stage in a certain direction. Enter the Queen, Beatrice, + from that direction, walks in, looking straight ahead, goes to the + throne and seats herself. The court sits. The clerk begins to read.] + +CLERK. The first case to be heard is that of Lisa, +A widow with two small children, who resides +Near the Duke's wood, and has been caught in the act +Of cutting trees there, and hauling them home to burn. + +BEA. Stand, Lisa. You are a widow, I am told. +With two small children. + +LISA. Ay, your Majesty, +Two little boys. + +BEA. I know another widow, Lisa, +With two small children,--but hers are little girls. +Have you been cutting trees on the Duke's land? + +LISA. No, Majesty. I could not cut a tree. +I have no axe. + +BEA. And are you strong enough +To break a tree with your hands? + +LISA. No, Majesty. + +BEA. I see. What do you do, then? There must be +Some reason for this plaint. + +LISA. I gather wood +That's dead,--dried boughs, and underbrush that's been +A long time on the ground, and drag it home. + +BEA. Have you a wood-pile? + +LISA. Nay. I gather enough +Each day for the day's need. I have no time +To gather more. + +BEA. And does the dry wood burn +As well as other wood? + +LISA. Oh, better! + +BEA. I see. +You would as lief, then, have this wood you gather, +This dead wood, as a green tree freshly cut? + +LISA. Ay, I would liefer have it, Majesty. +I need a fire quickly. I have no time +To wait for wood to season. + +BEA. You may sit down, + +LISA. Is the Duke's agent here? + +AGENT. Ay, here. + +BEA. What is it the Duke's custom to have done +With this dead wood on his estate? + +AGENT. He burns it, +Your Majesty. + +BEA. You mean to say, I think, +He pays a price to have it gathered and burned. + +AGENT. Ay, Majesty. + +BEA. Where is it burned? + +AGENT. In a clearing. + +BEA. And what is cooked upon it? + +AGENT. Nothing is cooked. +The Duke is not a gypsy. [With irritation.] + + [Pause.] + [Slight titter in court-room, instantly hushed into profound silence.] + +BEA. [Evenly.] If he were, +He would be shrewder, and not be paying money +For what this woman is glad to do for naught. +Nothing is cooked, and nobody is warmed,-- +A most unthrifty fire! Do you bid the Duke, +Until he show me sounder cause for plaint, +Permit this woman to gather unmolested +Dead wood in his forest, and bear it home.--Lisa, +Take care you break no half-green boughs.--The next case? + +CLERK. Is that of Mario, a miller, accused +Of stealing grain. A baker, by name Pietro, +Brings this complaint against him, + +MESSENGER. [Rushing in and up to throne.] Majesty, +Bianca of Lagoverde lies a-dying, +And calls for you! + +BEA. [Rising.] She calls for me? + +MESSENGER. Ay, Majesty. + + [Beatrice stands very still a moment, then turns to the townspeople.] + +BEA. [Earnestly and rapidly,] You people, do you go now and live kindly +Till I return. I may not stay to judge you; +Wherefore I set you free. For I would rather +A knave should go at large than that a just man +Be punished. If there be a knave among you, +Let him live thoughtfully till I return. + + [She steps down from the throne, and is immediately + seized by the arm on either side by the two guards who + have been standing beside the throne.] + +BEA. Why, what is this, Enrico? [Looking up at the soldier on her right.] +Nay, it is not +Enrico! [Looking to other side.] Nor is it Pablo! How is this? + + [From each side of the stage one row of the double + row of soldiers detaches itself, marches down around the + front of the stage and up towards the throne, making an + armed alley for the Queen to walk down, and entirely + surrounding the crowd.] + +Nay, all new faces. So! Upon my word, +And keep your fingers from me!--I see you there, +Angelo! Do not turn your head aside! +And you, Filippo!--Is the sick hand better +I bound the bandage on?--Is't well enough +To draw a sword against me?--Nay, I am sick. +I, that have loved you as your mothers love you-- +And you do this to me! Lead me away. + + [The two guards lead out the Queen. Nobody else moves. The + townspeople cower and stare. The two little pages that bore her + train as she entered remain back of the throne, not knowing what to + do. As she goes by them, her train dragging on the ground, the two + ragged little boys of Lisa, the wood-gatherer, run out from the + group of citizens, pick up the ends of her train, and go out, + holding it up, one of them with his arm over his eyes.] + + + +Scene 3 + + [A dungeon. Beatrice alone, sitting on a bench, her head bowed in + her hands. Enter Guido] + +BEA. Guido, is't you! + +GUI. Ay, it is I, my Queen. +You sent for me, am I mistake not? + +BEA. Ay. +Guido, you will not keep me when I tell you +Snow-White is dying and calls my name! + +GUI. I knew that. + +BEA. You knew that, and you hold me here. Oh, Heaven! +What are you? + +GUI. I am a man. You should have thought +Of that before. I could have been your friend +If it had pleased you. Failing that, I am +Your enemy. I am too aware of you, +And have been ever, to hold me in at less. + +BEA. Guido. I beg of you upon my knees +To let me go! + +GUI. And why should I do that? + +BEA. For pity's sake! + +GUI. I do not know the word. + +BEA. Then for the sake of my sworn hand and seal +Upon a paper yielding fair to you +This sovereignty you prize. It is to me +Little enough tonight. I give it gladly. + +GUI. You have no power to give what I have taken +Already, and hold upon my hand, Rose-Red, + +BEA. Oh, do not call me that! Oh, Guido, Guido, +I cannot suffer further! Let me go! +If only for a moment, let me go! +I will return,--I will but take her hand, +And come away! I swear it! Let me go! + +GUI. On one condition only. + +BEA. Ay! 'Tis granted, +Ere it is spoken! + +GUI. That upon returning +You come to me, and give yourself to me, +To lie in my arms lovingly. [She is stricken speechless.] You hear? +To lie in my arms lovingly. + +BEA. Oh, God! + +GUI. It is my only word. + +BEA. Oh, God! Oh, God! + +GUI. 'Tis granted? + +BEA. Nay,--I cannot! I will die +Instead. Oh, God, to think that she will lie there +And call for me, and I will never come! + +GUI. Goodnight. [He goes to door.] + +BEA. [In a quiet voice.] Guido! +It shall be as you say. + +GUI. [Rushing to her.] Ah, Beatrice! + +BEA. Nay, touch me not yet. +I will return. [She laughs like a child.] Why,--'tis a simple matter! +I wonder now that even for a moment +I held myself so dear! When for her sake +All things are little things!--This foolish body, +This body is not I! There is no I, +Saving the need I have to go to her! + + + +Scene 4 + + [A room at Lagoverde. Bianca lying in bed, ill to death. The children + clinging to the bed, their nurse trying to draw them away, Giulietta + a maid, in the background. Possibly other attendants about.] + +LITTLE ROSE-RED. Tell us a story, mother! + +NURSE. Come away, now! + +LITTLE SNOW-WHITE. Tell us a story! + +BIA. Do you go away with nurse +A little while. You will bring them back to me +Later? + +NURSE. [Weeping.] Ay, madam. + + [She goes out with the children.] + +BIA. Later--not much later, +I think.--Hear you no sound of horses yet, +Giulietta, galloping this way? + +GIU. Nay, not yet. + +BIA. [To herself.] I will not go until she comes. I will not. +Still,--if I should--Giulietta! + +GIU. [Coming quickly to the bed.] Ay, my mistress! + +BIA. She will come, I tell you! + +GIU. Ay, I doubt it not. + +BIA. Ay, she will come. But if she should come late, +And I no longer be here to receive her, +Show her all courtesy, I conjure you. +She will be weary, and mightily distraught. +Make her take wine,--and bring the children to her. +And tell her, they are hers now. She is their mother. + + [Giulietta starts to go back to the window.] + +And say to her--wait!--I have a message for her. +Say to her this, Giulietta: The foot stumbles, +The hand hath its own awkward way; the tongue +Moves foolishly in the mouth; but in the heart +The truth lies,--and all's well 'twixt her and me. +Can you remember that? + +GIU. Ay, madam, I think so. +If not the words, at least the gist of it. + +BIA. Forget it all, my good child, but forget not: +All's well 'twixt her and me. + +GIU. Nay, that I have. + +BIA. I will sleep now a little. Do you leave me. +But go not far. [She lies still for a moment, then starts up.] +I hear the sound of hoof-beats! + +GIU. Nay, madam. + +BIA. Ay, I tell you! I can hear them! +My face upon the pillow brings my ear +Nearer the ground! She is coming! Open the door! + + [She kneels up in bed and holds out her arms towards the door, + maintaining this position till Beatrice comes. Giulietta, weeping, + opens the door, and stands in it, shaking her head sadly.] + +GIU. [Suddenly lifting her head and listening.] Nay, it is so! I hear it + now myself! +Ay, there's a horse upon the bridge! + +BIA. She's coming! +Stand back! Stand out of the doorway! [Pause.] + +SERVANT. [Entering.] Majesty, +The Queen is here. +Ay, ay! Stand out of the doorway! [Pause.] + +GIU. She is here! She is in the court! She has leapt from horse! +Madam, Oh, God be praised! This way! + +BIA. Sister! + + [Beatrice enters in her riding clothes, leaps to the bed, Bianca + throws her arms about her neck, and dies.] + +BEA. [After a moment, looking down at her.] +Snow-White! Oh, no! Oh, no! Snow-White! [She screams.] Ah-h! Help me! +She is dying! + + [Attendants and nurses rush in, also the children.] + +LITTLE SNOW-WHITE. Mother, wake up! + +LITTLE ROSE-RED. Come out of doors! + +BEA. Take them away. Snow-White! [Leaning over the bed.] + +NURSE. Nay, it is over, +Madam. + +BEA. Leave me. Leave me alone with her. + + [Exeunt all but Beatrice. She kneels beside the bed.] + + + +Scene 5 + + [A room at Lagoverde, The next day. Beatrice alone.] + +BEA. In sooth, I do not feel the earth so firm +Under my feet as yesterday it was. +All that I loved are gone to a far land, +And left me here alone, save for two children +And twenty thousand enemies, and the thing +Of horror that's in store for me. Almost +I feel my feet uprooted from the earth, +There's such a tugging at me to be gone. +Save for your children, [Looking off stage towards Bianca's room.] + 'twould be simple enough +To lay me down beside you in your bed, +And call on Death, who is not yet out of hearing, +To take me, too. [Enter Fidelio.] + +FID. Mistress I have news for you. +Guido is dead! + +BEA. Is dead? + +FID. Ay, he is dead, +Dead of a dagger i' the back,--and dead enough +For twenty. Scarce were you gone an hour's time +We came upon him cold. And in a pool +Nearby, the Lady Francesca floating drowned, +Who last was seen a-listening like a ghost +At the door of the dungeon, 'Tis a marvelous thing! +But that's not all! + +BEA. Why, what more can there be? + +FID. Mistress, in the night the people of Fiori +Rose like a wind and swept the Duke's men down +Like leaves! Your throne is empty,--and awaits you! + + [Enter Giulietta,] + +GIU. Madam. + +BEA. Ay, Giulietta. + +GIU. Madam, last night, +Before you came, she bade me tell you something, +And not forget. 'Tis this: That the foot stumbles, +The hand doth awkward things, and the foolish tongue +Says what it would not say,--but in the heart +Truth lies,--and all is well 'twixt her and you. + + [She starts to go out, and turns back at the door.] + +She bade me above all things to forget not +The last: that all is well 'twixt her and you. [Exit.] + +BEA. [Slowly and with great content.] +She is not gone from me. Oh, there be places +Farther away than Death! She is returned +From her long silence, and rings out above me +Like a silver bell!--Let us go back, Fidelio, +And gather up the fallen stones, and build us +Another tower. + + + + + +End of Project Gutenberg The Lamp and the Bell, by Edna St. Vincent Millay + diff --git a/old/lmpnb10.zip b/old/lmpnb10.zip Binary files differnew file mode 100644 index 0000000..b67cd08 --- /dev/null +++ b/old/lmpnb10.zip |