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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/39133-8.txt b/39133-8.txt new file mode 100644 index 0000000..f658159 --- /dev/null +++ b/39133-8.txt @@ -0,0 +1,15003 @@ +The Project Gutenberg EBook of The Dramas of Victor Hugo, by Victor Hugo + +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 Dramas of Victor Hugo + Mary Tudor, Marion de Lorme, Esmeralda + +Author: Victor Hugo + +Release Date: March 14, 2012 [EBook #39133] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DRAMAS OF VICTOR HUGO *** + + + + +Produced by Andrew Sly, Chuck Greif and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + +THE DRAMAS + +OF + +VICTOR HUGO + +MARY TUDOR + +MARION DE LORME + +ESMERALDA + +Profusely Illustrated with Elegant +Wood Engravings + +_VOLUME TWENTY-ONE_ + +NEW YORK + +Peter Fenelon Collier, Publisher + + + + +CONTENTS + + +_VOLUME TWENTY-ONE_ + + Mary Tudor + + Marion de Lorme + + Esmeralda + + +ILLUSTRATIONS + +The Rendezvous Frontispiece + +Marion de Lorme + + + +[Illustration: THE RENDEZVOUS.] + + + +MARY TUDOR + + + + +DRAMATIS PERSONÆ + + Mary, The Queen. + Jane. + Gilbert. + Fabiano Fabiani. + Simon Renard. + Joshua Farnaby. + A Jew. + Lord Clinton. + Lord Chandos. + Lord Montague. + Master Eneas Dulverton. + Lord Gardiner. + A Jailer. + _Lords, Pages, Guards, the Executioner._ + +LONDON, 1553. + + + + +MARY TUDOR + +_FIRST DAY_ + +A MAN OF THE PEOPLE + +Scene.--_Border of the Thames. A deserted strand. An old parapet in +ruins, conceals the borders of the water. To the right, a house of +mean appearance. At the corner of this house, a statuette of the +Virgin, at whose feet burns a wick in an iron lattice. In the +background, beyond the Thames, London. Two high buildings are +seen--the Tower of London and Westminster. The sun is setting_ + + + +SCENE I + + +_Several men are grouped here and there on the Strand, among whom are +Simon Renard, John Bridges, Baron Chandos, Robert Clinton, Anthony +Brown, Viscount of Montague_ + + +LORD CHANDOS. + +You are right, my lord, this damned Italian must have bewitched the +Queen. She can't exist without him; she lives only for him, finds +pleasure only in him, listens only to him. If a day passes without +seeing him, her eyes droop as they did when she loved Cardinal Polus, +you remember? + +SIMON RENARD. + +She is very much in love, it is true, and, consequently, very +jealous. + +LORD CHANDOS. + +The Italian has bewitched her. + +LORD MONTAGUE. + +For a fact, they say that people of his nationality have philters for +that purpose. + +LORD CLINTON. + +The Spanish are clever at poisons which kill people, the Italians are +clever at poisons which make people fall in love. + +LORD CHANDOS. + +Then Fabiani is Spanish and Italian, at the same time. The Queen is +in love and is ill. He has made her drink both. + +LORD MONTAGUE. + +As to that, is he really Spanish or Italian? + +LORD CHANDOS. + +It appears certain that he was born in Italy, in the Capitanate, and +that he was brought up in Spain. He claims to be connected with a +great Spanish family. Lord Clinton has the story at his finger-tips. + +LORD CLINTON. + +An adventurer--neither Spanish nor Italian, and still less English, +thank God! These men without a country have no pity on a country, +when they become powerful. + +LORD MONTAGUE. + +Didn't you say the Queen was ill, Chandos? That does not hinder her +from leading a very gay life with her favorite! + +LORD CLINTON. + +A gay life! A gay life! The people weep while the Queen laughs and +the favorite is gorged. This man eats silver and drinks gold! The +Queen has given him the estates of Lord Talbot, the great Lord +Talbot! The Queen has made him Earl of Clanbrassil and Baron of +Dinasmonddy, this Fabiano Fabiani who says he belongs to the Spanish +family of Peñalver, and who lies when he says it. He is an English +peer like you, Montague, like you, Chandos, like Stanley, like +Norfolk, like myself, like the King! He has the garter, the same as +the Infante of Portugal, as the King of Denmark, as Thomas Percy, +seventh Earl of Northumberland. And what a tyrant is this tyrant who +rules us from his bed! Never did such a curse rest upon England! And +yet I have seen much--I, who am old! There are seventy new gallows at +Tyburn; the stakes are always embers and never ashes; the +executioner's ax is sharp every morning and blunted every night. +Every day some great nobleman is slaughtered; the day before +yesterday it was Blantyre, yesterday Northcurry, to-day South-Reppo, +to-morrow Tyrconnel. Next week it will be you, Chandos, and next +month it will be I. My lords, my lords, it is shameful and outrageous +that all these honest English heads should fall to please a miserable +adventurer who does not even belong to our country! It is a frightful +and unbearable thing, to think that a Neapolitan favorite can drag as +many blocks as he likes from under this Queen's bed. These two lead a +gay life, you say? By Heaven, it is infamous! Ah, they lead a gay +life, these lovers, while the headsman, at their door, makes widows +and orphans! Oh, their Italian guitar is too well accompanied by the +clank of chains! Madame Queen! you send to the chapel of Avignon for +your singers; every day in your palace, you have comedies, plays, and +a stage crowded with musicians! Upon my life, madame, less joy at +your house and less mourning at ours, if you please; fewer dancers +there, and fewer executioners here; fewer farces at Westminster, and +fewer scaffolds at Tyburn! + +LORD MONTAGUE. + +Have a care, my Lord Clinton! We are loyal subjects! Not a word +against the Queen, everything against Fabiani. + +SIMON RENARD (_laying his hand on Lord Clinton's shoulder_). + +Have patience! + +LORD CLINTON. + +Patience! That is easy enough for you to say, Mr. Simon Renard! You +are bailiff of Amont in Franche-Comte, subject of the Emperor, and +his embassador at London. You represent the Prince of Spain, the +Queen's future husband. Your person is sacred to the favorite. But it +is different with us. You see, for you, Fabiani is the lover; for us +he is the butcher! [_It is night._ + +SIMON RENARD. + +This man troubles me as much as you! You tremble only for your life. +I tremble for my power. That means much more. I do not talk; I act. I +feel less anger than you, perhaps, but I feel more hate. I will +destroy the favorite. + +LORD MONTAGUE. + +Yes! but how to do it! I think of it all day. + +SIMON RENARD. + +It is not in the daytime that the favorites of queens are made and +unmade; it is at night. + +LORD CHANDOS. + +This night is dark and frightful. + +SIMON RENARD. + +I find it good for what I wish to do. + +LORD CHANDOS. + +What do you mean to do? + +SIMON RENARD. + +You shall see. My Lord Chandos, when a woman reigns, caprice reigns. +Politics are no longer a matter of calculation then, but of chance. +You can count upon nothing. To-day does not logically bring +to-morrow. Public affairs are no longer like a game of chess, but a +game of cards. + +LORD CLINTON. + +That is all very well; but let us come to the point. When will you +deliver us from the favorite? Time is pressing. To-morrow Tyrconnel +will be beheaded. + +SIMON RENARD. + +If I find the man I am looking for, to-night, Tyrconnel will sup with +you to-morrow. + +LORD CLINTON. + +What do you mean? What will have become of Fabiani? + +SIMON RENARD. + +Have you good eyes, my lord? + +LORD CLINTON. + +Yes, although I am old and the night is dark. + +SIMON RENARD. + +Do you see London on the other side of the water? + +LORD CLINTON. + +Yes. Why? + +SIMON RENARD. + +Look well! From here you can see the height and the depth of every +favorite's fortune--Westminster and the Tower of London. + +LORD CLINTON. + +Well? + +SIMON RENARD. + +If God is with me, there is a man who at this moment is yet there +[_pointing to Westminster_], and who to-morrow, at the same time, +will be here [_pointing to the Tower_]. + +LORD CLINTON. + +Pray God be with you! + +LORD MONTAGUE. + +The people hate him no less than we do. What a festival will his fall +make in London! + +LORD CHANDOS. + +We have placed ourselves in your hands, Sir Bailiff. Dispose of us. +What must we do? + +SIMON RENARD (_indicating a house, near to the water_). + +You all see that house. It is the house of Gilbert the engraver. Do +not lose sight of it. Now go away with your people, but don't go too +far. Above all, do nothing without me. + +LORD CHANDOS. + +It is agreed. [_They all exit at different sides._ + +SIMON RENARD (_alone_). + +The man I need is not easy to find. + +[_He exits. Jane and Gilbert enter, arm in arm; they go toward +the house. Joshua Farnaby, enveloped in a long cloak, accompanies +them._ + + + +SCENE II + +Jane, Gilbert, Joshua Farnaby + +JOSHUA. + +I must leave you here, my good friends. It is midnight, and I must go +back to my post of turnkey of the Tower of London. I am not as free +as you are, you see! A turnkey is only another kind of prisoner! +Good-by, Jane! Good-by, Gilbert. Ah, my friends, how glad I am to see +you happy! When is the wedding, Gilbert? + +GILBERT. + +In one week, isn't it, Jane? + +JOSHUA. + +Faith! day after to-morrow is Christmas. This is the day of good +wishes and presents. But I have nothing to wish you. It would be +impossible to wish more beauty to the bride or more love to the +bridegroom. You are fortunate. + +GILBERT. + +Good Joshua! And you, are you not happy? + +JOSHUA. + +Neither happy nor unhappy. As for me, I have given up everything. +Look you, Gilbert [_opening his cloak and disclosing a bunch of keys +hanging to his belt_], prison keys always jingling at your side, talk +to you, suggest all sorts of philosophical ideas to you. When I was +young, I was like the rest--in love for a day, ambitious for a month, +mad a whole year. It was during the reign of Henry VIII. that I was +young. Strange man that Henry VIII.! A man who changed his wives as a +woman changes her dresses. He repudiated the first, had the second +beheaded, had the third's womb cut open; as for the fourth, he had +mercy on her--he sent her off; but for revenge he had the fifth's +head cut off! This isn't the story of Bluebeard I am telling you, my +beautiful Jane; it is the history of Henry VIII. In those days I +interested myself in the religious wars; I fought first for one side +and then for the other. That was the wisest thing to do. The whole +business was very ticklish. It was whether to be for or against the +Pope. The King's officers hanged those who were for, but they burned +those who were against. The neutral people--those who neither were +for nor against--they hanged them or they burned them +indiscriminately. We managed as we could. Yes, the rope; no, the +fagot. I, who am speaking to you, I smelled of burning very often, +and I am not sure that I was not un-hanged two or three times. Those +were great times; very much like the times now. The devil take me if +I know now whom I fought for or what I fought about. If people speak +to me now about Master Luther and Pope Paul III., I shrug my +shoulders. You see, Gilbert, when a man has gray hairs he shouldn't +go back to the opinions he fought for nor the women he loved when he +was twenty. The women and the opinions will seem very ugly, very old, +very paltry, very silly, very much wrinkled and out of date. Such is +my history. Now I am through with public affairs. I am no longer the +King's soldier nor the Pope's soldier; I am jailer of the Tower of +London. I don't fight any more for anybody, and I put everybody under +lock and key. I am turnkey and I am old. I have one foot in a prison +and the other in the grave. I am the one who picks up the remnants of +all the ministers and favorites who go to pieces in the Queen's +palace. It is very amusing. I have also a little child whom I love, +and you both whom I love too; and if you are happy, I am happy also. + +GILBERT. + +If that is the case, you can be happy; can't he, Jane? + +JOSHUA. + +I can't do anything to add to your happiness, but Jane can do +everything. You love her. I may never be able to do anything for you. +Fortunately for you, you are not high and mighty enough to ever need +the help of the turnkey of the Tower of London. Jane will pay my debt +at the same time that she pays her own, because she and I owe +everything to you. Jane was but a poor child, a forsaken orphan; you +took her home and brought her up. I was drowning in the Thames, one +fine day, and you dragged me out of the water. + +GILBERT. + +Why do you always talk about that, Joshua? + +JOSHUA. + +In order to tell you that our duty, Jane's and mine, is to love you. +I, as a brother; and she, not as a sister. + +JANE. + +No, as a woman. I understand you, Joshua. [_She sinks back into her +reverie._ + +GILBERT. + +Look at her, Joshua! Is she not beautiful and attractive, and is she +not worthy of a king? If you only knew! You cannot imagine how I love +her! + +JOSHUA. + +Be careful! It is dangerous. A woman should not be loved so much as +that. With a child, it is different. + +GILBERT. + +What do you mean? + +JOSHUA. + +Nothing. I will be at your wedding next week. I hope State affairs +will leave me a little liberty then, and that everything will be +finished. + +GILBERT. + +How? What will be finished? + +JOSHUA. + +Ah, these things do not interest you, Gilbert. You are in love; you +belong to the people. What do the intrigues of the high-born matter +to you, who are happy among the low-born? But since you ask me, I +will tell you that within one week, perhaps within twenty-four hours, +it is hoped that Fabiano Fabiani's place near the Queen will be +filled by another. + +GILBERT. + +Who is Fabiano Fabiani? + +JOSHUA. + +The Queen's lover: a very celebrated and a very fascinating +favorite--a favorite who has had his enemies' heads chopped off with +greater dispatch than a procuress can repeat an "Ave"; the best +favorite that the executioner of the Tower of London has had for ten +years. For you must know that every great lord's head that falls, +brings in ten silver crowns to the executioner--sometimes twice as +much, when the head is very distinguished. The fall of this Fabiani +is greatly desired; though, I must say, during my duties at the +Tower, it is only the bad-tempered people whom I hear find fault with +him--the discontented people; those whose heads are to fall next +month. + +GILBERT. + +Let the wolves rend each other! What do we care about the Queen and +the Queen's favorite? Isn't it so, Jane? + +JOSHUA. + +There is a big conspiracy against Fabiani; if he escapes, he will be +lucky. I should not be surprised if they were to strike some blow +to-night. I just saw Master Simon Renard prowling about here, very +much absorbed. + +GILBERT. + +Who is Master Simon Renard? + +JOSHUA. + +Is it possible that you don't know? He is the Emperor's right hand at +London. The Queen is to marry the Prince of Spain, and Simon Renard +is his embassador to her. The Queen hates him, this Simon Renard; but +she is afraid of him, and she can't do anything to him. He has +already destroyed two or three favorites. It seems to be his instinct +to destroy favorites. He clears up the palace from time to time. He +is a shrewd and spiteful man; he knows all that goes on, and he digs +two or three subterranean rows of intrigues under every event. As for +Lord Paget--didn't you ask me who was Lord Paget?--he is a crafty +nobleman who helped to manage affairs under Henry VIII. He is a +member of the secret council. He has such an ascendency that the +other ministers do not dare to breathe in his presence--except, +however, the chancellor, my Lord Gardiner, who detests him. A violent +man, this Gardiner, and well born. As for Paget, he was nobody--a +cobbler's son. He is to be made Baron Paget of Beaudesert in +Stafford. + +GILBERT. + +How glibly he tells all these things, this Joshua. + +JOSHUA. + +My faith! It's from hearing the prisoners of State talk. + +[_Simon Renard appears at the back of stage._ + +You see, Gilbert, the man who knows most about the history of these +times is the turnkey of the Tower of London. + +Simon Renard (_who overhears these last words_). + +You are mistaken, my master; it is the executioner! + +JOSHUA (_low to Gilbert and Jane_). + +Let us move back a little! + +[_Simon Renard goes off slowly; when he has disappeared._ + +That is Master Simon Renard himself. + +GILBERT. + +I don't like to have all these men prowling about my house. + +JOSHUA. + +What the devil is he doing here? I must hurry back; I think he is +getting work ready for me. Good-by, Gilbert! Good-by, my beautiful +Jane, I knew you when you were no bigger than that, all the same! + +GILBERT. + +Good-by, Joshua! What are you hiding there under your cloak? + +JOSHUA. + +I've got my conspiracy, too! + +GILBERT. + +What conspiracy? + +JOSHUA. + +O lover who forgets everything else! I have just reminded you that +the day after to-morrow is the time for Christmas presents. The +nobles are plotting a surprise for Fabiani. Well, I am plotting a +surprise too. The Queen may give herself the present of a brand-new +favorite. I am going to give my child a doll. [_He takes a doll from +his cloak._] Brand-new, too! We will see which will be the first to +break her toy. God keep you, my friends. + +GILBERT. + +Good-by, Joshua! + +[Joshua _departs_. Gilbert _takes_ Jane's _hand and kisses it +with passion_. + +JOSHUA (_from back of stage_). + +How wise is Providence! She gives to each one his plaything. The doll +to the child, the child to the man, the man to the woman, and the +woman to the devil. [_Exits._ + + +SCENE III + +Gilbert, Jane + +GILBERT. + +I must go, too. Good-by, Jane: sleep well. + +JANE. + +You are not coming in with me to-night, Gilbert? + +GILBERT. + +I can't. You know, I told you before, Jane, I have some work to do in +my shop to-night. I must engrave the handle of a dagger for some Lord +Clanbrassil, whom I have never seen, and who wants it to-morrow +morning. + +JANE. + +Then good-night, Gilbert. Until to-morrow! + +GILBERT. + +No, Jane, wait a moment. Heaven! how it hurts me to leave you, even +for a few hours. How true it is that you are my life and my joy. Yet +I have to work--we are so poor. I won't go in, because I should stay; +and yet I can't leave you, weak man that I am. Let us sit down by the +door a few moments, on this bench. I think it will be easier to go +from here than if I went into the house, and, above all, into your +room. Give me your hand. + +[_He sits and takes her hands in his; she stands._ + +Jane, do you love me? + +JANE. + +Oh, I owe you everything, Gilbert. I know it, although you have +concealed it from me a long time! When I was little, almost in my +cradle, my parents abandoned me, and you took me. For sixteen years +your hand has worked for me as if you were a father; your eyes have +watched over me like a mother. What would I be without you, just +Heaven! All I have, you have given me; all I am, you have made me. + +GILBERT. + +Jane, do you love me? + +JANE. + +What devotion yours has been, Gilbert! You work for me, night and +day; you wear your eyes out, you kill yourself for me. You are going +to sit up all night again to-night. And never a reproach to me, never +an unkindness, never an angry word! You are very poor, yet you +remember all my small womanly vanities; you gratify them. Gilbert, +whenever I think about you, my eyes fill with tears. You have often +gone without bread; I have never gone without my ribbons. + +GILBERT. + +Jane, do you love me? + +JANE. + +Gilbert, I would like to kneel down and kiss your feet. + +GILBERT. + +Do you love me, do you love me? All that does not prove that you love +me. I want that word, Jane! Gratitude, always gratitude! Oh, I stamp +it underfoot, your gratitude. I want love or nothing! Die! Jane, you +have been my daughter for sixteen years; now you are to be my wife. I +adopted you; now I am to marry you--in one week. You know, you +promised me; you have consented; you are my betrothed. You loved me +when you promised that. Oh, Jane, there was a time--do you remember +it?--when you told me, "I love you," and you lifted your sweet eyes +to heaven. That is the way I want you to be. For some months now, you +have seemed different, especially during these last three weeks that +my work has kept me away from here nights. Jane, I must have you love +me! I am used to it. You were always so light-hearted; now you are +sad and absent-minded--not cold, my poor child (you try your best not +to be), but I feel your loving words do not come as tenderly and as +naturally as they used. What is the matter? Don't you love me any +more? I know I am an honest man, I know I am a good workman; but I +would rather be a robber and an assassin, and be loved by you. Jane, +if you knew how much I love you! + +JANE. + +I know it, Gilbert, and it makes me weep. + +GILBERT. + +For joy, isn't it? Say it is for joy! Oh, I need to believe it. There +is only that in the world--to be loved. I have only a poor +workingman's heart, but my Jane must love me. Why do you always talk +to me about what I have done for you? One single word of love from +you puts all the gratitude on my side. I will damn myself and commit +a crime, whenever you wish it. You will be my wife, won't you, and +you love me? Oh, Jane, for one look of your eyes I would give my work +and my labor; for one smile, my life; for one kiss, my soul. + +JANE. + +What a noble heart you have, Gilbert. + +GILBERT. + +Listen to me, Jane--laugh at me if you will; I am mad, I am jealous! +I will tell you why. Do not get angry! It seems to me, for some time +I have seen several young lords prowling around here. Do you know, +Jane, I am thirty-two years old. For a poor, clumsy, badly-dressed +workman like myself, who am no longer young, who am not handsome, +what a misery it is to love a charming, beautiful girl of seventeen, +who attracts all the handsome, gold-bedizened young nobles around +her, as a light attracts the butterflies. Oh, I suffer; indeed, I do! +But I never blame you, even in my thoughts! You, so honest, so pure; +you, whose brow has never been touched, except by my lips. I only +feel, sometimes, that you look on the Queen's cavalcades and retinues +with too much pleasure, that you enjoy too much the fine suits of +velvet and satin, under which there are no hearts, no souls. Forgive +me. My God! why do so many young noblemen come around here? Why am I +not handsome, young, noble, rich? Gilbert the engraver--that is all I +am! They are Lord Chandos, Lord Gerard Fitz-Gerard, Earl of Arundel, +the Duke of Norfolk! Oh, how I hate them! I spend my life engraving +the handles of their swords, which I would like to plunge into their +bowels. + +JANE. + +Gilbert! + +GILBERT. + +I beg your pardon, Jane! Love makes us very wicked, doesn't it? + +JANE. + +No, very good; for you are good, Gilbert. + +GILBERT. + +Oh, how much I love you! It increases every day. I would like to die +for you! Love me or not, you can do as you please. I am mad. Forgive +all that I have said. It is late: I must leave you! Good-by! Oh, how +I hate to leave you! Go in! Haven't you your key? + +JANE. + +No; I haven't had it for several days. + +GILBERT. + +Take mine. Until to-morrow morning! Jane, don't forget this! To-day I +am still your father: in one week I shall be your husband. + +[_He kisses her on the forehead and exits._ + +JANE (_alone_). + +My husband! Oh, no! I will never commit that crime. Poor Gilbert! he +loves me truly; and the other--ah, provided I have not preferred +vanity to love! Unhappy woman that I am, into whose power have I +fallen! Oh, I am most thankless and most guilty! I hear footsteps! +Let me get in quickly. [_Goes into house._ + + +SCENE IV + +_Gilbert, A Man enveloped in cloak and wearing a yellow cap. The +Man holds Gilbert by the hand_ + +GILBERT. + +Yes, I recognize you; you are the Jewish beggar who has been prowling +around this house for several days. What do you want with me? Why +have you taken hold of my hand, and why have you brought me back +here? + +THE MAN. + +Because what I have to say to you, I can only say here. + +GILBERT. + +Well, what is it? Speak! Hurry! + +THE MAN. + +Listen, young man. One night, sixteen years ago, Lord Talbot, Earl of +Waterford, was beheaded by torchlight, for the crimes of popery and +rebellion, while his followers were cut to pieces in the city of +London by Henry VIII.'s soldiers. They shot in the streets all night. +That night a very young workman, who was much more interested in his +labor than in the battle, was working in his stall. It was the first +stall from the entrance of London Bridge; a low door on the right, +the remains of some old red paint on the wall. It might have been two +o'clock in the morning. They were fighting all around there. The +balls hissed across the Thames. Suddenly some one knocked at the door +of the stall, through which the workman's lamp threw a glimmer. The +workman opened it. A man he did not know, entered. This man carried +in his arms a baby in long clothes, who was much frightened and was +crying. The man put the child down on the table and said, "Here is a +creature who has neither father nor mother." Then he went out slowly +and closed the door after him. Gilbert, the workman, had neither +father nor mother himself. The workman accepted the child: the orphan +adopted the orphan. He took it, watched over it, clothed it, fed it, +tended it, brought it up, loved it. He gave himself entirely to this +poor little creature whom civil war had thrown into his stall. He +forgot everything for her--his youth, his love-affairs, his +pleasures; he made this child the sole object of his work, his +affections, his life: and it has lasted sixteen years. Gilbert, the +workman was you; the child-- + +GILBERT. + +Was Jane. All that you say is true; but what are you driving at? + +THE MAN. + +I forgot to say that on the child's swaddling-clothes a paper was +pinned, on which was written: "Have pity upon Jane." + +GILBERT. + +It was written in blood. I have kept that paper. I always carry it +about me. But you torture me. What is your purpose, tell me. + +THE MAN. + +This. You see that I am acquainted with your affairs. Gilbert, watch +over your house to-night. + +GILBERT. + +What do you mean? + +THE MAN. + +Not another word. Don't go to your work; stay around the house: +watch! I am neither your friend nor your enemy; this is only a piece +of advice that I give you. Now, for your own sake, leave me! Go down +that side, and come back if you hear me call for help. + +GILBERT. + +What does this mean? [_Goes off slowly._ + + +SCENE V + +THE MAN (_alone_). + +The matter is well arranged now. I needed some one young and strong +to help me if it was necessary. This Gilbert is just the man I want. +I think I hear the sound of oars and a guitar on the water. Yes. + +[_He goes to the parapet. A guitar and distant singing are heard._ + + When you sing soft at night, love, + Clasped in my arms so fond, + Can you not hear the tender thoughts + Which to your voice respond? + Your song brings back unto my heart + The happy days of yore; + Then sing, my beauty, sing, my love, + Sing on for evermore! + +THE MAN. + +That is my man! + +[_The voice draws nearer with each verse._ + + When you laugh, on your lips, dear, + Love's sweetest shadows play; + And doubt and cruel unbelief + Are sudden chased away. + For laughter proves we're loyal + And faithful to the core; + Then laugh, my beauty, laugh, my love, + Laugh on for evermore! + + When you sleep, calm and pure, love, + In shadow, 'neath my eyes, + And your soft breathing gives my heart + Its tenderest replies, + On your sweet form my eyes can feast, + Oh, beauty's priceless store! + Then sleep, my beauty, sleep, my love, + Sleep on for evermore! + + And when you say, "I love you," + In truth it seems to be + As if God's heaven were opening + Especially for me. + I see dreams hidden in your eyes + That we've not dreamed before; + Then love me, oh, my beauty, + Love me for evermore! + + You see, the whole of life, dear, + Lies in those words, just four-- + All things that people envy, + All things that men adore, + All things that are seductive, + On which our heart sets store. + To sing, to laugh, my beauty, + To sleep, to love, no more! + +THE MAN. + +He lands! Good! He sends off the boatmen. Excellent! + +[_Comes back to the front of the stage._ + +Here he comes. + +[_Fabiano Fabiani enters, enveloped in a cloak; he goes toward the +door of the house._ + + +SCENE VI + +The Man, Fabiano Fabiani + +THE MAN (_stopping_ Fabiani). + +A word with you, if you please. + +FABIANI. + +I believe some one is speaking to me. Who is this knave? Who are you? + +THE MAN. + +Whatever you wish me to be. + +FABIANI. + +This lantern is not very bright, but you wear a yellow cap, it seems +to me--a Jew's cap. Are you a Jew? + +THE MAN. + +Yes, a Jew. I have something to tell you. + +FABIANI. + +What is your name? + +THE MAN. + +I know your name, and you don't know mine. I have the advantage. +Permit me to keep it. + +FABIANI. + +You know my name? That isn't true. + +THE MAN. + +I know your name. At Naples you were called Signor Fabiani; at +Madrid, Don Fabiano; at London you are called Lord Fabiano Fabiani, +Earl of Clanbrassil. + +FABIANI. + +The devil take you! + +THE MAN. + +God keep you! + +FABIANI. + +I will have you cudgeled. I do not wish my name to be known when I go +abroad by night. + +THE MAN. + +Especially when you go where you are going. + +FABIANI. + +What do you mean? + +THE MAN. + +If the Queen knew! + +FABIANI. + +I am going nowhere in particular. + +THE MAN. + +Oh, yes, my lord! You are going to see the fair Jane, the betrothed +of Gilbert the engraver. + +FABIANI (_aside_). + +The devil! This is a dangerous man. + +THE MAN. + +Shall I tell you more? You have seduced this girl, and during the +last month she has received you twice in her house at night. This is +the third time. The beauty is waiting for you. + +FABIANI. + +Keep still. Do you want hush-money? How much do you want? + +THE MAN. + +We will see about that by-and-by. Now, my lord, shall I tell you why +you have seduced this girl? + +FABIANI. + +By my faith! because I was in love with her. + +THE MAN. + +No. You were not in love with her. + +FABIANI. + +I wasn't in love with Jane. + +THE MAN. + +No more than with the Queen! Love, oh, no! calculation, yes. + +FABIANI. + +Why, fool, you are no man at all! You are my conscience dressed up +like a Jew. + +THE MAN. + +I will speak to you as if I were your conscience. This is your plan. +You are the Queen's favorite. The Queen has given you the garter, an +earldom, and a lordship--empty things, all of them. The garter is a +rag; the earldom is a word; the lordship is the right to have your +head cut off. You wanted something more. You wanted fine lands, fine +bailiwicks, fine castles, fine revenues in fine English pounds. Well, +King Henry VIII. confiscated the estates of Lord Talbot, who was +beheaded sixteen years ago. You got Queen Mary to give you Lord +Talbot's estates. But, to make the gift valid, it is necessary that +Lord Talbot should have died without heirs. And since Lord Talbot +died for Queen Mary and for her mother, Catherine of Aragon, since +Lord Talbot was a Papist, and since the Queen is a Papist, it is not +at all doubtful, if there existed such an heir or an heiress, that +Queen Mary would take back the estates from you, great favorite +though you are, and out of duty, gratitude and religion, return them +to the heir or heiress. You were quite easy on that score, for Lord +Talbot had never had but one little daughter; she disappeared from +her cradle at the time of her father's execution, and all England +believed her to be dead. But your spies have lately discovered that +during the night in which Lord Talbot and his partisans were +exterminated by Henry VIII., a child was mysteriously brought to an +engraver on London Bridge, and that it was probable that this child, +reared under the name of Jane, was Jane Talbot, the little girl who +had disappeared. It is true that the written proofs of her birth were +lacking, but they might be found any day. The discovery was +unpleasant. It would be hard to see one's self forced some day to +give back Shrewsbury, Wexford, which is a fine city, and the +magnificent earldom of Waterford, to a little girl! What was to be +done? You searched for a way to set aside this young girl, and to +destroy her. An honest man would have had her killed or poisoned. +You, my lord, have done better--you have dishonored her. + +FABIANI. + +Insolent fool! + +THE MAN. + +It is your conscience which is speaking, my lord. Another man would +have taken this young girl's life; you have taken her honor, and, +consequently, her future. Queen Mary is a prude, although she has +lovers herself. + +FABIANI. + +This man goes to the bottom of everything. + +THE MAN. + +The Queen's health is bad; the Queen may die, and then you, the +favorite, will fall shattered on her tomb. The actual proofs of this +young girl's rank may be found; and then, if the Queen is dead, Jane +Talbot, dishonored though she be, will be recognized as Lord Talbot's +heiress. You have foreseen that too. You are a handsome young +cavalier; you have won her love; she has given herself to you; at the +worst, you can marry her. Don't deprecate your scheme, my lord; I +consider it sublime. If I were not myself, I would like to be you. + +FABIANI. + +Thank you. + +THE MAN. + +You have managed the matter very skillfully. You have concealed your +name. You are safe as far as the Queen is concerned. The poor girl +thinks she has been seduced by a nobleman from Somerset county, named +Amyas Pawlet. + +FABIANI. + +All--he knows it all! Well, come to the point. What do you want of +me? + +THE MAN. + +My lord, suppose some one had in his possession the papers which +prove the birth, existence, and rights of Talbot's heiress! It would +make you as poor as my ancestor Job, Don Fabiano, and would leave you +no better castles than your castles in Spain, which would be very +hard for you. + +FABIANI. + +Yes! But no one has those papers. + +THE MAN. + +Yes. Some one has them. + +FABIANI. + +Who? + +THE MAN. + +I. + +FABIANI. + +You, miserable wretch! It isn't true! Jew speaks, Jew lies. + +THE MAN. + +I have got the papers. + +FABIANI. + +You lie! Where have you got them? + +THE MAN. + +In my pocket. + +FABIANI. + +I don't believe you. Are they all in order? Nothing lacking? + +THE MAN. + +Nothing is lacking. + +FABIANI. + +Then I must have them. + +THE MAN. + +Gently. + +FABIANI. + +Jew, give me those papers! + +THE MAN. + +Excellent! Jew, miserable beggar who crawls through the streets, give +me the city of Shrewsbury, give me the city of Wexford, give me the +earldom of Waterford! Charity, if you please! + +FABIANI. + +Those papers are everything to me and nothing to you. + +THE MAN. + +Simon Renard and Lord Chandos would pay me pretty high for them. + +FABIANI. + +Simon Renard and Lord Chandos are two dogs between whom I will have +you hanged. + +THE MAN. + +You have nothing else to say to me? Then farewell. + +FABIANI. + +Come back! What do you want me to give you for those papers? + +THE MAN. + +Something which you have with you. + +FABIANI. + +My purse? + +THE MAN. + +Out upon you! Do you want mine? + +FABIANI. + +What then? + +THE MAN. + +There is a parchment which never leaves you. It is a signature in +blank which the Queen gave you, and in which she swears, upon her +Catholic crown, to grant any favor he may ask, to the one who +presents it. Give me that signature in blank, and you shall have Jane +Talbot's titles. Paper for paper. + +FABIANI. + +What do you want to do with this signature in blank? + +THE MAN. + +I will explain. Cards on the table, my lord. I have told you your +affairs; now I will tell you mine. I am one of the principal +money-dealers in Kantersten Street, Brussels. I lend money; it is my +business. I lend ten and get back fifteen. I lend to every one: I +would lend to the devil; I would lend to the Pope. Two months ago one +of my creditors died, without paying me. It was an old exiled servant +of the Talbot family. The poor man left nothing but a few rags: I +seized them. Among these rags I found a box, and in the box some +papers--Jane Talbot's papers, my lord, giving her entire history in +detail and furnishing proofs for better times. The Queen of England +had just given you Jane Talbot's estates. I was in great need of the +Queen of England at that time, for I wanted to make a loan of ten +thousand gold marks. I realized that I might do business with you. I +came to England in this disguise; I made myself a spy upon you, upon +Jane Talbot. I did it all myself. In this way I learned everything, +and here I am. You shall have Jane Talbot's papers if you give me the +Queen's signature in blank. I will write upon it that the Queen shall +give me ten thousand gold marks. They owe me something at the +excise-office, but I won't haggle. Ten thousand gold marks--nothing +more. I don't ask you for the sum, because only a crowned head could +pay it. I am speaking frankly, you see. Two men as clever as we are, +my lord, have nothing to gain by deceiving each other. If frankness +were banished from the earth, it would be re-discovered in a +_tête-à-tête_ between two rogues. + +FABIANI. + +Impossible! I can't give you this signature in blank. Ten thousand +gold marks! What would the Queen say? And then, to-morrow I may be +disgraced: this signature in blank is my safeguard. This signature in +blank is my head. + +THE MAN. + +What does that matter to me? + +FABIANI. + +Ask me for something else. + +THE MAN. + +I want that. + +FABIANI. + +Jew, give me Jane Talbot's papers. + +THE MAN. + +My lord, give me the Queen's signature in blank. + +FABIANI. + +Accursed Jew, I will have to yield. [_Draws a paper from his pocket._ + +THE MAN. + +Show me the Queen's signature in blank. + +FABIANI. + +Show me Talbot's papers. + +THE MAN. + +Afterward. + +[_They go close to the lantern. Fabiani stands behind the Jew, and +with his left hand holds the paper under the Jew's eyes; he examines +it. The Man reads._ + +"We, Mary, Queen--" It is well. You see, my lord, I am like you. I +have calculated upon everything. I have foreseen everything. + +FABIANI (_draws a dagger with his right hand and plunges it into the +Jew's throat_). + +Except this! + +THE MAN. + +Oh, traitor! Help! + +[_He falls. In falling he throws a sealed packet into the darkness +behind him; Fabiani does not perceive it._ + +FABIANI (_leaning over the body_). + +Faith! I believe he is dead. Quick, the papers. [_He searches the +Jew._] What! he hasn't got them. He has nothing--nothing at all about +him! Not a paper! He was lying, the old wretch! He deceived me: he +wanted to rob me. Is it possible, you accursed Jew! No, he has +nothing. That is clear. I have killed him for nothing. They are all +alike, these Jews. To lie and steal, that is all they can do. Come, +let us get rid of this corpse; I can't leave it here at the door. +[_Goes up stage._] I will see if the boatman is still there; he can +help me throw it into the Thames. + +[_He descends, and disappears behind the parapet._ + +GILBERT (_enters from the opposite side_). + +I thought I heard a cry! + +[_He perceives the body stretched upon the ground under the lantern._ + +Some one has been assassinated! The beggar! + +THE MAN (_lifting himself half-way up_). + +Ah, you come too late, Gilbert. + +[_He points to the place where he threw the packet._ + +Take them. They are the papers which prove that Jane, your betrothed, +is daughter and heiress of the last Lord Talbot. My assassin is Lord +Clanbrassil, the Queen's favorite. Oh, I suffocate! Gilbert, avenge +me! Avenge yourself! [_He dies._ + +GILBERT. + +Dead! Avenge myself? What does he mean? Jane, daughter to Lord +Talbot? Lord Clanbrassil! The Queen's favorite? Oh, I am lost in +wonder! [_Shaking the body._] Speak! One word more! He is indeed +dead! + + +SCENE VII + +Gilbert, Fabiani + +FABIANI (_returning_). + +Who goes there? + +GILBERT. + +A man has been assassinated. + +FABIANI. + +No, a Jew. + +GILBERT. + +Who killed him? + +FABIANI. + +Faith! You or I. + +GILBERT. + +Sir? + +FABIANI. + +No witnesses. A corpse on the ground. Two men beside it. Which is the +assassin? There is nothing to prove it is one rather than the +other--I rather than you. + +GILBERT. + +Miserable man! You are the assassin! + +FABIANI. + +Well, yes! To be frank, I am. What of it? + +GILBERT. + +I am going to call the constables. + +FABIANI. + +You are going to help me throw the body into the water. + +GILBERT. + +I will have you seized and punished. + +FABIANI. + +You will help me throw the body into the water. + +GILBERT. + +You are insolent. + +FABIANI. + +Do as I say! Let us destroy all traces of this. Believe me, you are +more interested in the matter than I am. + +GILBERT. + +Upon my soul! + +FABIANI. + +One of us two did the deed. I am a great lord, a nobleman. You are a +passer-by, a peasant, a man of the people. A noble who kills a Jew +pays a fine of four sous; a man of the people who kills one of his +fellow-creatures is hanged. + +GILBERT. + +You would dare-- + +FABIANI. + +If you denounce me, I will denounce you. I will be believed sooner +than you. At any rate, the chances are unequal. Four sous fine for +me, and the gallows for you. + +GILBERT. + +No witnesses! No proofs! Oh, my brain is bewildered! This miserable +man is right, he has me in his power. + +FABIANI. + +Shall I help you throw the corpse into the river? + +GILBERT. + +You are a demon! + +[_Gilbert takes the body up by the head, Fabiani by the feet; +they carry it to the parapet._ + +FABIANI. + +Yes. Faith, my friend, I can no longer exactly tell which of us +killed this man! + +[_They go down behind the parapet. Fabiani re-appears._ + +It is done. Good-night, comrade! Go your way! + +[_He starts toward the house, but turns back, seeing that Gilbert +follows him._ + +Well, what do you want? Money for your trouble? In truth, I don't owe +you anything, but here, take this. + +[_He gives his purse to Gilbert, whose first impulse is to refuse +it, but who accepts it afterward with the air of a man who has +reflected._ + +Well, go! What more are you waiting for? + +GILBERT. + +Nothing. + +FABIANI. + +Then stay, if it pleases you. You can have the fine starlight while I +have the pretty girl. God be with you! + +[_He starts toward the door of the house and is about to open it._ + +GILBERT. + +Where are you going? + +FABIANI. + +Faith, into my house! + +GILBERT. + +How? Into your house! + +FABIANI. + +That is what I said. + +GILBERT. + +Which of us two is dreaming? A short time ago you told me that I was +the Jew's assassin! Now you tell me that that house is yours. + +FABIANI. + +Or that of my mistress, which amounts to the same thing. + +GILBERT. + +Repeat what you have just said. + +FABIANI. + +My friend, I say, since you wish to know, that this house belongs to +a beautiful girl named Jane, who is my mistress. + +GILBERT. + +And I tell you, my lord, that you lie! I tell you that you are a liar +and an assassin! I tell you that you are an insolent knave! I tell +you, you have pronounced some fatal words which will kill us +both--you, for having said them: me, for having heard them. + +FABIANI. + +Dear me! Who the devil is this man? + +GILBERT. + +I am Gilbert the engraver. Jane is my betrothed. + +FABIANI. + +And I am the Chevalier Amyas Pawlet. Jane is my mistress. + +GILBERT. + +You lie, I tell you! You are Lord Clanbrassil, the Queen's favorite. +Don't you think I know that, fool! + +FABIANI (_aside_). + +Everybody seems to know me to-night. Another dangerous man, whom we +must get rid of. + +GILBERT. + +Tell me instantly that you have lied like a coward, and that Jane is +not your mistress! + +FABIANI. + +Do you know her writing? + +[_He takes a note from his pocket._ + +Read this! + +[_Aside, while Gilbert tremblingly unfolds the paper._ + +If he would go in and quarrel with Jane, it would give my people time +to get here. + +GILBERT (_reading_). + +"I will be alone to-night. You can come." Malediction! My lord, you +have dishonored my betrothed, you are an infamous wretch! I demand my +revenge. + +FABIANI (_putting his hand to his sword_). + +Willingly! Where is your sword? + +GILBERT. + +Oh, fury! To be one of the people! To have nothing--neither sword nor +dagger. Well, you can go; but I will wait for you at night, in a +corner of the street, and I will stick my nails into your throat, and +I will assassinate you, you villain! + +FABIANI. + +Dear me! How violent you are, my friend. + +GILBERT. + +I will be revenged upon you, my lord! + +FABIANI. + +You! Revenged upon me? You so low, upon me so high! You are crazy! +I defy you. + +GILBERT. + +You defy me? + +FABIANI. + +Yes. + +GILBERT. + +You shall see. + +FABIANI (_aside_). + +To-morrow's sun must not rise for this man. [_Aloud._] Friend, listen +to me. Go into your house. I am sorry you found it out, but I leave +the beauty to you. Go in. + +[_He throws a key down at Gilbert's feet._ + +There is a key, if you haven't got one. Or, if you like it better, +you can knock against the shutter three times and Jane will think it +is I, and let you in. Good-night. [_He goes off._ + + +SCENE VIII + +GILBERT (_alone_). + +He is gone. He is no longer here. I did not grind and crush him +beneath my feet. I had to let him go. Not a weapon about me. + +[_He sees on the ground the dagger with which Lord Clanbrassil +killed the Jew; he picks it up with fearful haste._ + +Ah, you come too late; you can probably kill no one but myself. All +the same, whether you fall from heaven or are vomited up from hell, I +bless you. My Jane has betrayed me! Jane has given herself to this +infamous man. Jane is the heiress of Lord Talbot. Jane is lost to me! +O God! more terrible things have come to me in this hour than my +brain can stand. + +[_Simon Renard appears in the darkness at the back._ + +Oh, to be revenged on that man! To be revenged on this Lord +Clanbrassil! If I go to the Queen's palace, the lackeys will kick me +out as if I were a dog. I am mad! My head will burst! I am willing to +die, but I want to be revenged. I would give my blood for revenge! +Will nobody in the world make this bargain with me? Who will give me +vengeance on Lord Clanbrassil and take my life in payment? + + +SCENE IX + +Gilbert, Simon Renard + +SIMON RENARD (_taking a step forward_). + +I will. + +GILBERT. + +You? Who are you? + +SIMON RENARD. + +The man you want. + +GILBERT. + +Do you know who I am? + +SIMON RENARD. + +You are the man I need. + +GILBERT. + +There is no longer but one thought in my mind, do you know that? To +be revenged on Lord Clanbrassil and to die! + +SIMON RENARD. + +You shall be revenged on Lord Clanbrassil and you shall die. + +GILBERT. + +Who ever you may be, I thank you. + +SIMON RENARD. + +Yes, you shall have the vengeance you desire. But do not forget upon +what condition. I must have your life. + +GILBERT. + +Take it. + +SIMON RENARD. + +It is agreed? + +GILBERT. + +Yes. + +SIMON RENARD. + +Follow me! + +GILBERT. + +Where? + +SIMON RENARD. + +You shall know. + +GILBERT. + +Remember that you have promised to avenge me! + +SIMON RENARD. + +Remember that you have promised to die. + + + + +SECOND DAY + +THE QUEEN + +Scene.--_A room in the royal apartment. The gospel open on a +prie-Dieu. The royal crown upon a stool. Side doors. A large door in +the center. A portion of the background concealed by a large +tapestry, representing a grand tournament_ + + +SCENE I + +_The Queen, splendidly dressed, reclining upon a couch; Fabiano +Fabiani seated on a folding-chair. Magnificent costume. The garter_ + +FABIANI (_a guitar in his hands, singing_). + + When you sleep, calm and pure, love, + In shadow, 'neath my eyes, + And your soft breathing gives my heart + Its tenderest replies; + On your sweet form my eyes can feast, + Oh, beauty's priceless store! + Then sleep, my beauty, sleep, my love, + Sleep on, for evermore! + + And when you say, "I love you," + In truth, it seems to be + As if God's heaven were opening + Especially for me. + I see dreams hidden in your eyes + That we've not dreamed before; + Then love me, oh, my beauty, + Love me for evermore! + + You see, the whole of life, dear, + Lies in those words, just four-- + All things that people envy, + All things that men adore, + All things that are seductive + On which our hearts set store, + To sing, to laugh, my beauty, + To sleep, to love, no more! + +[_He puts down his guitar._ + +Oh, I love you more than I can tell, madame! But this Simon +Renard--this Simon Renard, who is more powerful here than you +yourself--I hate him! + +THE QUEEN. + +I can't help it, my lord; you know that. He is here as the ambassador +of the Prince of Spain, my future husband. + +FABIANI. + +Your future husband! + +THE QUEEN. + +Come, my lord, let us not speak of that. I love you! What more do you +wish? Moreover, it is time for you to go, now. + +FABIANI. + +One moment more, Mary! + +THE QUEEN. + +It is time for the secret council to meet. Until now, there has been +only a woman here. We must let the Queen enter. + +FABIANI. + +I wish the woman would keep the Queen waiting at the door. + +THE QUEEN. + +You wish, do you? You wish, do you? Look at me, my lord! Fabiani, you +have a young and beautiful head! + +FABIANI. + +It is you who are beautiful, madame. You need only your beauty to be +all-powerful. There is something on your head which tells me you are +the Queen; but it is written plainer on your brow than on your crown! + +THE QUEEN. + +Flatterer! + +FABIANI. + +I love you! + +THE QUEEN. + +You love me, do you not? You love only me? Say it to me again, just +like that, with the same eyes! Alas! we poor women, we never know +just what is passing in a man's heart. We have to trust your eyes; +and the handsomest eyes, Fabiani, are often the most false. But +yours, my lord, are so full of loyalty, so full of candor, so full of +good faith, they could not deceive, those eyes--could they? Yes, my +beautiful page, your glances are artless and sincere. Oh, it would be +shameful to take such heavenly eyes to betray with! Your eyes are the +eyes either of a devil or an angel! + +FABIANI. + +Neither angel nor devil. A man who loves you! + +THE QUEEN. + +Who loves the Queen? + +FABIANI. + +Who loves Mary. + +THE QUEEN. + +Listen to me, Fabiani. I love you, too. You are young; there are many +beautiful women who smile tenderly on you--I know it. People get +tired of queens as well as of other women.--Don't interrupt me!--If +you ever fall in love with another woman, I want you to tell me about +it.--Don't interrupt me, dear!--I may forgive you, if you tell me +about it. You don't know how much I love you. I don't know myself. It +is true, there are moments when I would rather see you dead than +happy with another; but there are also moments when I would rather +have you happy. Indeed, I don't know why they try to make me out such +a wicked woman! + +FABIANI. + +I can only be happy with you, Mary! I love no one but you! + +THE QUEEN. + +Are you sure? Look at me! Are you sure? Oh, I am jealous sometimes! I +imagine--where is the woman who does not think of these +things?--sometimes I imagine that you are false to me. I would like +to be invisible, so that I might follow you, and always know what you +are doing, what you are saying, where you are! In fairy stories they +tell about a ring which makes one invisible; I would give my crown to +have such a ring as that. I keep thinking that you go to see the +beautiful women in the city. Oh, you must not deceive me--indeed, you +must not! + +FABIANI. + +Banish such thoughts from your mind, madame. I false to you, my love, +my queen, my kind mistress! To do that, I would have to be the most +thankless, the most miserable of men. And I have given you no reason +to think me the most thankless, the most miserable of men. I love +you, Mary; I adore you! I could not even look at another woman! I +love you, I say; but don't you see it in my eyes? There must be some +way to persuade you! Look at me well! Do I look like a man who is +false? When a man deceives a woman, you can see it at once. Women are +seldom mistaken about that. And what a time you choose to tell me +these things--the one moment in my life when I love you the most! It +is true, I am sure I never loved you so much as I do to-day. I am not +speaking to the Queen. What do I care about the Queen? What can she +do to me? She can have my head cut off; what does that amount to? +You, Mary, can break my heart. It isn't your sovereignty that I love, +it is yourself. It is your beautiful white and soft hand that I love +to kiss; it isn't your scepter, madame. + +THE QUEEN. + +Thank you, my Fabiano. Good-by! Ah, my lord, how young you are! What +beautiful black hair, what a graceful head you have! Come back to me +in an hour. + +FABIANI. + +What you call an hour, I call a century! + +[_He goes out. As soon as he is gone, The Queen rises hastily, goes +to a concealed door, opens it, and ushers in Simon Renard._ + + +SCENE II + +The Queen, Simon Renard + +THE QUEEN. + +Come in, Sir Bailiff! Well, did you stay there? Did you hear him? + +SIMON RENARD. + +Yes, madame. + +THE QUEEN. + +What do you say to it? Oh, of all men on earth he is the most false, +the most deceitful! What do you say to it? + +SIMON RENARD. + +I say, madame, that it is plain to be seen his name ends in _i_. + +THE QUEEN. + +Are you sure that he goes to this woman at night? Did you see him? + +SIMON RENARD. + +I myself, Chandos, Clinton, Montague. Ten witnesses! + +THE QUEEN. + +Oh, it is indeed infamous! + +SIMON RENARD. + +The whole affair will be still better proved to the Queen in a short +time. The young woman is here, as I told your Majesty. I had her +brought from her house last night. + +THE QUEEN. + +Isn't this a sufficient crime for his execution, sir? + +SIMON RENARD. + +What! To go to see a pretty girl by night! Oh, no, madame! Your +Majesty had Frogmorton tried for a similar crime. Frogmorton was +acquitted. + +THE QUEEN. + +I punished Frogmorton's judges. + +SIMON RENARD. + +Try not to have to punish Fabiani's judges. + +THE QUEEN. + +How shall I revenge myself on this traitor? + +SIMON RENARD. + +Your Majesty wants only a certain kind of revenge? + +THE QUEEN. + +The only kind worthy of me! + +SIMON RENARD. + +Frogmorton was acquitted, madame. There is only one way. I have +explained it to your Majesty. The man who is there! + +THE QUEEN. + +Will he do whatever I wish? + +SIMON RENARD. + +If you do all that he wishes. + +THE QUEEN. + +Will he give his life? + +SIMON RENARD. + +He will make his own conditions, but he will give his life. + +THE QUEEN. + +What does he want? Do you know? + +SIMON RENARD. + +What you yourself want--revenge! + +THE QUEEN. + +Bid him come in, but stay you out there, within call, Sir Bailiff. + +SIMON RENARD (_coming back_). + +Madame! + +THE QUEEN. + +Tell my Lord Chandos to hold himself in the next room, with six men +of my ordinance, in readiness to appear. And the woman also, let her +be ready to appear. Go. + +[_Simon Renard goes out._ + +Oh! it would be frightful! + +[_The Queen alone. A side door opens; Simon Renard and Gilbert +enter._ + + +SCENE III + +The Queen, Gilbert, Simon Renard + +GILBERT. + +Before whom do I stand? + +SIMON RENARD. + +Before the Queen. + +GILBERT. + +The Queen! + +THE QUEEN. + +Yes, the Queen. I am the Queen. There is no time for astonishment. +You, sir, are Gilbert, a workman, an engraver. You live somewhere +beyond the borders of the river, with a woman named Jane, who is your +betrothed, and who deceives you, whose lover is a man named Fabiano, +who deceives me. You want revenge, so do I. In order to get it, I +must be able to make any disposition I please of your life. It is +necessary that you should say what I command you to say, no matter +what it is. For you, there must be no longer either false or true, +good or bad, justice or injustice--nothing but my vengeance and my +will. I shall require you to let me act, and to let yourself be acted +upon. Do you consent? + +GILBERT. + +Madame-- + +THE QUEEN. + +You shall have your revenge; but I warn you, it will cost you your +life--that is all. Make your conditions. If you have an old mother +and you want her tablecloth covered with ingots of gold, speak, I +will do it. Sell me your life as dear as you please. + +GILBERT. + +I am no longer willing to die, madame. + +THE QUEEN. + +What! + +GILBERT. + +I have been thinking about it all night. Nothing is proved yet. I saw +a man who boasted that he was Jane's lover. How do I know that he did +not lie? I saw a key! How do I know that he did not steal it? I saw a +letter! How do I know that she was not forced to write it? I don't +even know whether it was her writing; it was dark, I was excited, I +could not see. I can't give up my life, which is her life, like that. +I don't believe any of it, I am not sure of any of it, I have not +seen Jane! + +THE QUEEN. + +It is easy to see that you love. You are like me, you refuse all the +proofs. But if you see her, your Jane, if you hear her confess the +crime, will you do what I wish? + +GILBERT. + +Yes, upon one condition. + +THE QUEEN. + +Tell it to me afterward. [_To Simon Renard._] Bring this woman here +at once. + +[_Simon Renard goes out. The Queen places Gilbert behind a +curtain which covers part of the background of the apartment._ + +Stand there! + +[_Jane enters, pale and trembling._ + + +SCENE IV + +_The Queen; Jane; Gilbert behind the curtain_ + +THE QUEEN. + +Approach, young woman. You know who we are? + +JANE. + +Yes, madame. + +THE QUEEN. + +You know who is the man who seduced you? + +JANE. + +Yes, madame. + +THE QUEEN. + +He deceived you. He passed himself off for a nobleman called Amyas +Pawlet? + +JANE. + +Yes, madame. + +THE QUEEN. + +You know now that it is Fabiano Fabiani, Earl of Clanbrassil? + +JANE. + +Yes, madame. + +THE QUEEN. + +Last night, when they seized you in your house, you had given him a +rendezvous, you were waiting for him? + +JANE (_wringing her hands_). + +Heavens, madame! + +THE QUEEN. + +Answer! + +JANE (_with feeble voice_). + +Yes. + +THE QUEEN. + +You understand that there is no more hope, neither for him nor for +you? + +JANE. + +Nothing but death! That is a hope! + +THE QUEEN. + +Tell me all about it. Where did you meet this man first? + +JANE. + +The first time I saw him was-- But what is the use? A poor wretched +girl of the people, frivolous and vain, in love with jewels and fine +clothes, a girl dazzled with the handsome looks of a great lord--that +is all. I am seduced, I am dishonored, I am lost. There is nothing to +add to that. My God, madame, don't you see that each word I speak is +killing me? + +THE QUEEN. + +Enough. + +JANE. + +Your anger is terrible, I know it, madame. My head bends now beneath +the punishment you have prepared for me. + +THE QUEEN. + +Punishment for you? Do you think I concern myself about you, +simpleton? Who are you, wretched creature, that the Queen should +concern herself about you? Oh, no! Fabiano is my affair. As for you, +madame, some one else will look out for your punishment. + +JANE. + +Well, madame, whoever that one may be, whatever the punishment, I +will endure all without a murmur. I will even thank you if you will +listen to one prayer I am about to make. There is a man who took me +in, an orphan from my birth, who adopted me, brought me up, nourished +me, loved me, and who loves me still; a man of whom I am most +unworthy, toward whom I have been most guilty, and yet whose image +lies at the bottom of my heart, beloved, revered, sacred as is that +of God; a man who now, while I am speaking to you, finds his home +empty, deserted, robbed, who can't understand it, and who rends his +garments in anguish. Well, madame, what I ask of your Majesty is that +he may never understand, that I may disappear without his knowing +what has become of me, what I have done, or what you have done with +me. Alas, kind Heaven, I do not know how to make you understand, but +you ought to feel that I have a friend in him--a noble, generous +friend. Poor Gilbert! yes, it is true, he respects me and believes me +pure, and I do not want him to hate me and despise me! Oh, you +understand me, don't you, madame? That man's respect is a great deal +more to me than my life. And then it will make him suffer so +much--such a surprise! He won't believe it at first. No, he will not +believe it. My God! Poor Gilbert. Oh, madame, have pity on him and on +me! He has done you no harm! In the name of Heaven, keep him from +knowing the awful truth! In the name of Heaven, don't let him know +that I am guilty. He will kill himself. Don't let him know that I am +dead. He will die too. + +THE QUEEN. + +The man you are speaking of is here; he is listening to you; he will +judge you, he will punish you! [_Gilbert appears._ + +JANE. + +Heavens! Gilbert! + +GILBERT (_to the Queen_). + +My life belongs to you, madame. + +THE QUEEN. + +Good. Have you any conditions to make? + +GILBERT. + +Yes, madame! + +THE QUEEN. + +What are they? We give you our royal word that we will grant them. + +GILBERT. + +This, madame. It is very simple. It is a debt of gratitude I pay to +one of your noble lords, who employed me a great deal in my capacity +as engraver. + +THE QUEEN. + +Speak! + +GILBERT. + +This lord has a secret liaison with a woman whom he cannot marry +because she belongs to a proscribed family. This woman, who up to the +present time has lived in concealment, is the only daughter and +heiress of the last Lord Talbot, beheaded under King Henry VIII. + +THE QUEEN. + +What? Are you sure of what you are saying? You say, John Talbot, the +good Catholic lord, the loyal defender of my mother of Aragon, has +left a daughter? Upon my crown, if that is true, this child is my +daughter. And what John Talbot did for the mother of Mary of England, +Mary of England will do for the daughter of John Talbot. + +GILBERT. + +Then, of course, it will be a pleasure to your Majesty to give back +Lord Talbot's estates to his daughter? + +THE QUEEN. + +Yes, truly, and to take them away from Fabiano. But are there proofs +that this heiress exists? + +GILBERT. + +There are! + +THE QUEEN. + +And if there are not, we will make them! We are not a queen for +nothing! + +GILBERT. + +Your Majesty will give back to Lord Talbot's daughter the estates, +lands, rank, coat-of-arms, and device of her father. Your Majesty +will remove her from all proscription, and will guarantee that her +life shall be safe. Your Majesty will marry her to this lord, who is +the only man she can marry. Upon these conditions, madame, you can +dispose of me, of my liberty, of my life, and of my will as you see +fit. + +THE QUEEN. + +Good! I will do what you have asked. + +GILBERT. + +Your Majesty will do what I have asked? The Queen of England swears +it to me, Gilbert the engraver, upon her crown which is here, and +upon the open gospel which is there? + +THE QUEEN. + +Upon the royal crown which is here, and the divine gospel which is +there, I swear it. + +GILBERT. + +The compact is concluded, madame. Have a tomb prepared for me and a +nuptial bed prepared for the lovers. The lord I speak of is Fabiani, +Earl of Clanbrassil. Talbot's heiress, behold her! + +JANE. + +What does he say? + +THE QUEEN. + +Am I dealing with a fool? What do you mean? Have a care, sir! You are +bold to mock the Queen of England! In the royal chambers people +should look to their words; there are times when the lips bring the +head to the block! + +GILBERT. + +You have my head, madame; I have your oath. + +THE QUEEN. + +You do not mean to say you are speaking seriously? This Fabiano--this +Jane! Come, come! + +GILBERT. + +This Jane is the daughter and the heiress of Lord Talbot. + +THE QUEEN. + +Bah! Nonsense! Delusion! Fancy! Have you got the proofs? + +GILBERT. + +Complete! + +[_He takes a packet from his breast._ + +Read these papers. + +THE QUEEN. + +Have I time to read your papers? Did I ask for your papers? What do +your papers matter to me? If they prove anything, upon my soul, I +will throw them into the fire and nothing will be left of them. + +GILBERT. + +Nothing but your oath, madame! + +THE QUEEN. + +My oath, my oath! + +GILBERT. + +Upon the crown and upon the gospel, madame; that is to say, on your +head and your soul--on your life in this world, and on your life in +the next. + +THE QUEEN. + +But what do you want? Oh, I swear you are mad! + +GILBERT. + +What do I want? Jane has lost her rank, give it back to her! Jane has +lost her honor, give it back to her! Proclaim her the daughter of +Lord Talbot and the wife of Lord Clanbrassil, and then take my life. + +THE QUEEN. + +Your life! What do you want me to do with your life then? I didn't +want it except to use for vengeance on this man--this Fabiano. You +can't understand anything at all, can you? Well! I can't understand +you, either. You talked about vengeance! That is the way you avenge +yourself, is it? These men of the people are stupid! And after all, +do you suppose I believe your ridiculous story about an heiress of +Talbot? The papers! You show me papers! I won't look at them. Oh, a +woman wrongs you, and you play the magnanimous. Well, do it if it +suits you! I am not magnanimous! No! My heart is full of rage and +hate. I will avenge myself and you shall help me! Oh, but this man is +mad, mad, mad! My God! why do I need him? It is exasperating to have +to deal with people like this, at such a serious time. + +GILBERT. + +I have your word, as Catholic Queen. Lord Clanbrassil has seduced +Jane; he shall marry her! + +THE QUEEN. + +And if he refuses to marry her? + +GILBERT. + +You will force him to do it. + +JANE. + +Oh, no! Have pity upon me, Gilbert! + +GILBERT. + +Well, then, if this infamous wretch refuses, your Majesty can do what +she pleases with him and with me! + +THE QUEEN (_with joy_). + +Ah, that is all I ask! + +GILBERT. + +In that case, I will do everything the Queen commands, provided the +crown of the Countess of Waterford is solemnly replaced by the Queen +on the sacred and inviolable head of Jane, who stands here! + +THE QUEEN. + +Everything? + +GILBERT. + +Everything! Even a crime, if it is a crime you want. I will not stop +at treachery, which is more than a crime; nor at infamy, which is +more than treachery. + +THE QUEEN. + +You will say what I want you to say? You will die the death that I +want you to die? + +GILBERT. + +The death that you want me to die! + +JANE. + +Oh, my God! + +THE QUEEN. + +You swear it? + +GILBERT. + +I swear it! + +THE QUEEN. + +Then it is settled. It is enough! I have your word, you have mine! It +is agreed. + +[_She seems to reflect a moment._ + +[_To Jane._] You are not needed here: go out. I will send for you. + +JANE. + +Oh, Gilbert, what is this you have done? Oh, Gilbert, I am a wretched +creature, and I don't dare to raise my eyes to you. Oh, Gilbert, you +are more than an angel, for you have the virtues of an angel and a +man's passions at the same time. [_She goes out._ + + +SCENE V + +_The Queen, Gilbert, afterward Simon Renard, Lord Chandos, and +the Guards_ + +THE QUEEN (_to Gilbert_). + +Have you a weapon about you? A knife, a dagger, anything! + +GILBERT (_drawing from his breast Lord Clanbrassil's dagger_). + +A dagger? Yes, madame. + +THE QUEEN. + +Good! Hold it in your hand! + +[_She seizes his arm quickly._ + +Sir bailiff D'Amont! Lord Chandos! + +[_Enter Simon Renard, Lord Chandos, and Guards._ + +Seize this man! He has threatened my life, with his dagger! I seized +his arm as he was about to strike me. He is an assassin! + +GILBERT. + +Madame! + +THE QUEEN (_low to Gilbert_). + +Have you forgotten your agreement so soon? Is this the way you let me +use you? [_Aloud._] You are all witnesses that he had a dagger in his +hand. Sir Bailiff, what is the name of the executioner of the Tower +of London? + +SIMON RENARD. + +He is an Irishman called Mac Dermot. + +THE QUEEN. + +Send for him. I want to speak to him. + +SIMON RENARD. + +Yourself? + +THE QUEEN. + +Myself. + +SIMON RENARD. + +The Queen will speak to the executioner! + +THE QUEEN. + +Yes, the Queen will speak to the executioner. The head will speak to +the hand! Send for him. + +[_A Guard goes out._ + +My Lord Chandos, and you, gentlemen, will answer to me for this man. +Keep him there among you, back of you. Certain things are about to +happen here which he must witness. Sir Lieutenant d'Amont, is Lord +Clanbrassil in the palace? + +SIMON RENARD. + +He is there, in the painted chamber, awaiting the Queen's good +pleasure to see him. + +THE QUEEN. + +Does he suspect anything? + +SIMON RENARD. + +Nothing. + +THE QUEEN (_to Lord Chandos_). + +Let him come in! + +SIMON RENARD. + +The entire Court is also waiting there. Will nobody be admitted +before Lord Clanbrassil? + +THE QUEEN. + +Who are those among our nobles who hate Fabiani? + +SIMON RENARD. + +All! + +THE QUEEN. + +Which hate him the most? + +SIMON RENARD. + +Clinton, Montague, Somerset, Earl of Derby, Gerard Fitz-Gerard, Lord +Paget, and the Lord Chancellor. + +THE QUEEN (_to Lord Chandos_). + +Admit them all--except the Lord Chancellor. Go! [_Chandos goes +out._ + +[_To Simon Renard._] The worthy Bishop Chancellor is not any fonder +of Fabiani than the rest, but he is a more scrupulous man. + +[_Noticing the papers which Gilbert left upon the table._ + +Ah, I must look over these papers! + +[_While she is examining them, the door in the background opens. +Those lords designated by The Queen enter, making profound +salutations._ + + +SCENE VI + +_The same. Lord Clinton and the other lords._ + +THE QUEEN. + +Good-day, gentlemen! God be with you, my lords! [_To Lord +Montague._] Anthony Brown, I do not forget that you held your own +most worthily against John of Montmorency and the Count of Toulouse +during my negotiations with my uncle, the Emperor! Lord Paget, to-day +you will receive your letters patent of Baron Paget de Beaudesert in +Stafford. And this is our old friend, Lord Clinton. We are always +your good friend, my lord. It was you who exterminated Thomas Wyatt +in St. James's Field. Let us all remember it, my lords. The crown of +England was saved that day by a bridge which enabled my troops to +reach the rebels, and by a wall which prevented the rebels from +reaching me! The bridge was London Bridge. The wall was my Lord +Clinton! + +LORD CLINTON (_low to Simon Renard_). + +The Queen has not spoken to me for six months. How kind she is +to-day! + +SIMON RENARD (_low to Lord Clinton_). + +Patience, my lord. She will be kinder still, by-and-by. + +THE QUEEN (_to Lord Chandos_). + +My Lord Clanbrassil may enter. [_To Simon Renard._] After he has +been here a few moments-- + +[_She speaks to him in a low voice and indicates the door through +which Jane passed._ + +SIMON RENARD. + +I understand, madame. [_Fabiani enters._ + + +SCENE VII + +_The same._ Fabiani + +THE QUEEN. + +Ah, here he is! + +[_She continues to speak to Simon Renard in a low voice._ + +FABIANI (_everybody salutes him; he looks around him. Aside_). + +What does this mean? There are only my enemies here, this morning! +The Queen is speaking in a low tone to Simon Renard. The devil! She +is laughing! It is a bad sign. + +THE QUEEN (_graciously to Fabiani_). + +God be with you, my lord! + +FABIANI (_seizing her hand which he kisses_). + +Madame-- [_Aside._] She smiled at me! The danger is not for me! + +THE QUEEN (_still graciously_). + +I want to speak to you. + +[_She advances to the front of the stage with him._ + +FABIANI. + +And I also, I want to speak to you, madame. I have a right to +reproach you! To keep me away, to exile me so long! Ah, it wouldn't +be thus if you thought of me during these hours of absence as I think +of you! + +THE QUEEN. + +You are unjust. Since you left me, I have thought of no one but you! + +FABIANI. + +Is that really true? Does so much happiness belong to me? Say it to +me again! + +THE QUEEN (_always smiling_). + +I swear it to you! + +FABIANI. + +Then you do indeed love me as I love you? + +THE QUEEN. + +Yes, my lord! Truly, I have thought of no one but you. So much so, +that I have tried to plan a pleasant surprise for your return. + +FABIANI. + +What do you mean? What surprise? + +THE QUEEN. + +A meeting which will give you pleasure! + +FABIANI. + +A meeting with whom? + +THE QUEEN. + +Guess! Can't you guess? + +FABIANI. + +No, madame! + +THE QUEEN. + +Turn around! + +[_He turns and sees Jane on the threshold of the little door, which +is half open._ + +FABIANI (_aside_). + +Jane! + +JANE (_aside_). + +It is he! + +THE QUEEN (_with the same smile_). + +My lord, do you know this young woman? + +FABIANI. + +No, madame! + +THE QUEEN. + +Young woman, do you know this lord? + +JANE. + +Truth before life! Yes, madame. + +THE QUEEN. + +So, my lord, you do not know this woman? + +FABIANI. + +Madame, this is a conspiracy. I am surrounded by enemies. This woman +is doubtless in league with them. I do not know her, madame! I do not +even know who she is, madame! + +THE QUEEN (_rising and striking him in the face with her glove_). + +Ah, you are a coward! You betray one and disown the other! You don't +even know who she is? Do you want me to tell you? This woman is Jane +Talbot, daughter of John Talbot, the good Catholic lord who perished +on the scaffold for my mother. This woman is Jane Talbot, my cousin: +Jane Talbot, Countess of Shrewsbury, Countess of Wexford, Countess of +Waterford, peeress of England. That is who she is, this woman! Lord +Paget, you are commissioner of the private seal; you will remember +our words. The Queen of England solemnly recognizes this woman here +present, as Jane, daughter and sole heiress of the last Earl of +Waterford. [_Showing the papers._] Here are the titles and the +proofs, which you will have sealed with the great seal. It is our +will. + +[_To Fabiani_] Yes, Countess of Waterford, and it is proved! And +you will give back her estates, you wretched man! Ah, you don't know +this woman? You don't know who she is? Well, I am telling you! It is +Jane Talbot. Shall I tell you more yet? + +[_Looking him in the face, in a low voice, between her teeth._ + +Coward, she is your mistress! + +FABIANI. + +Madame! + +THE QUEEN. + +That is what she is! Now, this is what you are! You are a man without +soul, a man without heart, a man without brains. You are a liar and a +villain! You are--By my faith, gentlemen, you need not draw away. I +am quite willing you should hear what I have to say to this man. I am +not lowering my voice, it seems to me. Fabiano, you are a wretch; a +traitor to me, a coward to her; a lying lackey, the most vile, the +lowest of all men. Yet it is true, I made you Earl of Clanbrassil, +Baron of Dinasmonddy and what more? Baron of Darmouth in Devonshire. +Ah, well! I was an idiot! My lords, I ask your pardon for having +forced you to be elbowed by that man there. You, a knight! you, a +noble! you, a lord! Compare yourself a little with those who are +such. Look! look around you! There stand noblemen. There is Bridges, +Baron Chandos; there is Seymour, Duke of Somerset. There are the +Stanleys, who have been Earls of Derby since 1485. There are the +Clintons, who have been barons since 1298. Do you imagine you are +like these people--you? You say that you are allied to the Spanish +family of Peñalver, but it is not true; you are only a bad Italian. +Nothing--worse than nothing! Son of a shoemaker in the village of +Larino! Yes, gentlemen, the son of a shoemaker! I knew it, and I did +not tell it; I concealed it, and I made believe I credited this man +when he talked about his nobility. That is the way we are, we women. +Oh, Heaven! I wish there were women here; it would be a lesson to +them all. This scoundrel! this scoundrel! he betrays one woman and +disowns the other. Infamous creature! Oh, yes, indeed you are +infamous. What! I have been speaking all this time and he is not yet +on his knees? On your knees, Fabiani! My lords, force this man to +kneel! + +FABIANI. + +Your Majesty-- + +THE QUEEN. + +This creature whom I have loaded with benefits! this Neapolitan +lackey whom I have made a noble knight and a proud earl of England. +Ah, I ought to have expected this! But I am always like that; I am +obstinate, and afterward I see that I am wrong. It is my fault. +Italian stands for liar: Neapolitan for coward. Every time that my +father made use of an Italian, he repented of it. This Fabiani! You +see Lady Jane, unfortunate child, to what a man you have surrendered +yourself! But I will avenge you. Oh, I ought to have known it from +the first. You will find nothing in an Italian's pocket but a +stiletto, nothing in his soul but treachery. + +FABIANI. + +Madame, I swear to you-- + +THE QUEEN. + +Good! Now he will perjure himself; he will descend to the depths of +infamy; he will make us blush to our finger-tips before these men--we +women who have loved him. He will not even lift up his head! + +FABIANI. + +Yes, madame, I will lift it up! I am lost; I see it clearly. My death +is decided. You will make use of every means, dagger, poison-- + +THE QUEEN (_taking hold of both his hands and dragging him violently +to the front of the stage_). + +Poison! Dagger! What are you saying, Italian? A treacherous +vengeance, a disgraceful vengeance--a vengeance from the back, a +vengeance such as you take in your country? No, Signor Fabiani, +neither dagger nor poison. Do I have to conceal myself? Do I have to +hide in the corners of the street at night and make myself small when +I want revenge? No, by my faith, I want the daylight! Do you hear, my +lord?--the full noonday, the bright sun, the public square, the ax +and the stake, the crowds in the street, the crowds at the windows, +the crowds on the roofs! A hundred thousand witnesses! I want people +to be afraid, do you hear, my lord? I want them to think it splendid, +frightful, magnificent. I want them to say, "It is a woman who has +been wronged, but it is a Queen who takes revenge!" This much envied +favorite, this handsome, insolent young man, whom I have dressed in +velvets and satins, I want to see him bent double, terrified and +trembling, on his knees before a black cloth, with naked feet, with +manacled wrists, hissed by the people, fingered by the executioner. +On this white neck, where I have put a golden collar, I want to put a +rope. I have seen how Fabiani looks upon a throne, I want to see how +he looks upon a scaffold. + +FABIANI. + +Madame-- + +THE QUEEN. + +Not a word! Not a word! You are indeed lost, as you say. You will +mount the scaffold as did Suffolk and Northumberland. This will be a +festival such as I have given before to my good city of London. You +know how she hates you, this good city of mine! Faith, when one wants +vengeance, it's a good thing to be Mary, Queen of England, daughter +of Henry VIII. and mistress of four seas. When you are on the +scaffold, you can make a long speech to the people, if you like, as +Northumberland did, or a long prayer to God, as Suffolk did, in order +to give pardon the time to arrive; but God is my witness that you are +a traitor, and the pardon will not come. This wretched liar who +talked of love to me, and this morning even said "thou" to me--Eh, +gentlemen, it seems to amaze you that I talk thus openly before you; +but I repeat it, what do I care? + +[_To Lord Somerset._] My lord duke, you are constable of the Tower; +demand this man's sword! + +FABIANI. + +Here it is; but I protest. Admitting that it is proved that I +deceived or seduced a woman-- + +THE QUEEN. + +What does it matter to me whether you have seduced a woman? Do I +concern myself about that? These gentlemen are witnesses, it is a +matter of indifference to me! + +FABIANI. + +The seduction of a woman is not a capital offense, madame. Your +Majesty could not procure Frogmorton's condemnation upon the same +accusation! + +THE QUEEN. + +I believe he defies us now! The worm has become a serpent. Who says +you are accused of that? + +FABIANI. + +Of what else am I accused? I am not an Englishman; I am no subject of +your Majesty. I am a subject of the King of Naples and a vassal of +the Holy Father. I will appeal to his embassador, the eminent +Cardinal Polus, to save me. I will defend myself, madame. I am a +stranger! I cannot be tried unless I have committed a crime--a real +crime. What is my crime? + +THE QUEEN. + +You ask what your crime is? + +FABIANI. + +Yes, madame. + +THE QUEEN. + +You all hear this question that he has asked, my lords? You shall +hear the answer. Listen, and look out for yourselves, all of you, +however great you may be, because you will see that I need only stamp +upon the earth with my foot to bring from out of it a scaffold. +Chandos, open that folding-door. Call the Court--every one! Bid every +one enter. + +[_The door at the back is opened. The entire Court enters._ + + +SCENE VIII + +_The same. The Lord Chancellor, all the Court_ + +THE QUEEN. + +Enter, enter, my lords! I am truly pleased to see you to-day. Good! +good! The officers of the law this way: nearer, nearer! Where are the +sergeants-at-arms of the House of Lords? Harriot and Herbert? Ah, +there you are, gentlemen! Be welcome! Draw your swords. Good! Place +yourselves at the right and at the left of that man. He is your +prisoner. + +FABIANI. + +Madame, what is my crime? + +THE QUEEN. + +My Lord Gardiner, my learned friend, you are chancellor of England. +We order you and the twelve lord commissioners of the Star Chamber, +whom we regret not to see here, to assemble yourselves in haste. +Strange things are passing in this palace. Listen, my lords! Madame +Elizabeth has raised more than one enemy to our crown. We have had +the Pietro Caro plot--that man who started the Exeter movement, and +who communicated with Madame Elizabeth by means of a cipher cut on +her guitar. We have had the treachery of Thomas Wyatt who roused the +county of Kent. We have had the rebellion of the Duke of Suffolk, who +was captured in the hollow of a tree, after his followers were +defeated. To-day we have a new attempt. Listen, all of you. To-day, +this morning, a man presented himself at my audience. After a few +words, he drew his dagger on me. I stopped his hand in time. Lord +Chandos and the bailiff D'Amont seized the man. He says that he was +urged to the crime by Lord Clanbrassil. + +FABIANI. + +By me! It is not true! This is a frightful thing! This man does not +exist. This man cannot be found! Who is he? Where is he? + +THE QUEEN. + +He is here! + +GILBERT (_coming out from among the soldiers, behind whom he has been +hidden up to this time_). + +I am the man! + +THE QUEEN. + +According to this man's declarations, we Mary, Queen, accuse before +the Star Chamber this other man, Fabiano Fabiani, Earl of +Clanbrassil, of high treason, and of an attempt of regicide upon our +imperial and sacred person. + +FABIANI. + +Regicide? I? This is monstrous. Oh, my brain is bewildered! I cannot +see clear! What is this trap? Whoever you may be, wretched creature, +dare you affirm that what the Queen says is true? + +GILBERT. + +Yes! + +FABIANI. + +I urged you to regicide? + +GILBERT. + +Yes. + +FABIANI. + +Yes, always yes! Malediction! Oh, it is impossible for you to know +how false that is, gentlemen. That man comes from hell! Unfortunate +wretch, you want to ruin me, but don't you see that you ruin yourself +in the same breath? The crime you charge upon me falls upon you too. +You will send me to the block, but you will die also. Madman, with a +single word you cause two heads to fall! Did you know that? + +GILBERT. + +I know it. + +FABIANI. + +My lords, this man is bribed-- + +GILBERT. + +By you. Here is the purse full of gold which you paid me for the +crime. Your crest and your monogram are embroidered upon it. + +FABIANI. + +Just Heaven! But you don't show me the dagger with which this man, it +is said, attempted to strike the Queen. Where is the dagger? + +LORD CHANDOS. + +Here it is! + +GILBERT (_to Fabiani_). + +It is yours. You gave it to me for that purpose. They will find the +sheath at your house! + +THE LORD CHANCELLOR. + +Earl of Clanbrassil, what reply do you make? Do you recognize this +man? + +FABIANI. + +No! + +GILBERT. + +In truth, he only saw me by night. Let me whisper two words to him, +madame, they will help his memory. [_He approaches Fabiani._] My +lord, you appear to recognize no one to-day--neither the man you have +wronged, nor the woman you have seduced. Ah, the Queen avenges +herself; but the man of the people, he avenges himself also. You +defied me to do it, I think. Behold yourself caught between a double +vengeance, my lord! What do you say to that? I am Gilbert the +engraver! + +FABIANI. + +Yes, I recognize you. My lords, I recognize this man. Since it is +with him I have to deal, I have nothing more to say. + +THE QUEEN. + +He confesses! + +THE LORD CHANCELLOR (_to Gilbert_). + +According to Norman law and Statute 25, Henry VIII., in a case of +high treason of the first degree, a confession does not save the +accomplice. Do not forget, it is a case wherein the Queen has not the +right of mercy, and you will die upon the scaffold as well as the man +you accuse. Therefore reflect! Do you confirm all you have said? + +GILBERT. + +I know that I shall die, and I confirm it. + +JANE (_aside_). + +My God! if this is a dream, it is very horrible. + +THE LORD CHANCELLOR (_to Gilbert_). + +Are you willing to repeat your statements with your hand upon the +gospel? + +[_He presents the gospel to Gilbert, who puts his hand upon it._ + +GILBERT. + +With my hand upon the gospel, and my approaching death before my +eyes, I swear that this man is an assassin; that this dagger, which +is his, was used for the crime; that this purse, which is his, was +given to me in payment for the crime. May God help me! It is the +truth! + +THE LORD CHANCELLOR (_to Fabiani_). + +My lord, what have you to say? + +FABIANI. + +Nothing! I am lost. + +SIMON RENARD (_low to The Queen_). + +Your Majesty sent for the executioner. He is there! + +THE QUEEN. + +Good! Let him come in! + +[_The row of noblemen divides and the Executioner appears; he is +dressed in red and black, and on his shoulder bears a long sword in +its scabbard._ + + +SCENE IX + +_The same._ Executioner + +THE QUEEN. + +My lord Duke of Somerset, these two men to the Tower! My Lord +Gardiner, our chancellor, let their trial before the twelve peers of +the Star Chamber commence to-morrow, and may God keep watch over +England. We expect them to be judged, both of them, before we leave +for Exford, where we are to open Parliament, and for Windsor, where +we are to spend Easter. + +[_To the Executioner._] Approach! I am glad to see you! You are a +faithful servant. You are old; you have already witnessed three +reigns. It is customary for the sovereigns of this kingdom to make +you as costly a gift as possible, upon their ascension. My father, +Henry VIII., gave you the diamond clasp of his cloak. My brother, +Edward VI., gave you a goblet of chased gold. It is my turn now; I +have not given you anything yet. I must give you a present. Come +nearer! [_Indicating Fabiani._] Do you see that head--that young, +adorable head; that head, which, up to this morning, was the dearest, +the most precious thing to me, in all my kingdom? Well! that +head--look at it well--I give it to you! + + + + +_THIRD DAY_ + +PART I + +WHICH OF THE TWO? + +Scene.--_Hall in the interior of the Tower of London. Pointed arch +upheld by large pillars. To the right and to the left two low doors +to two cells. To the right a dormer-window, which is supposed to +overlook the Thames. To the left a dormer-window, which is supposed +to overlook the streets. On each side a door concealed in the wall. +In the background, a gallery with a sort of balcony shut in by glass +and overlooking the exterior courts of the Tower_ + + +SCENE I + +Gilbert, Joshua + +GILBERT. + +Well? + +JOSHUA. + +Alas! + +GILBERT. + +No more hope? + +JOSHUA. + +No more hope. [_Gilbert goes to the window._ + +You won't see anything from the window. + +GILBERT. + +You inquired, didn't you? + +JOSHUA. + +I am only too sure. + +GILBERT. + +It is for Fabiani? + +JOSHUA. + +It is for Fabiani. + +GILBERT. + +How fortunate that man is! Maledictions on me! + +JOSHUA. + +Poor Gilbert! Your turn will come! To-day, it is he; to-morrow it +will be you! + +GILBERT. + +What do you say? We are not thinking of the same thing. What are you +talking about? + +JOSHUA. + +About the scaffold which they are building. + +GILBERT. + +And I--I am speaking of Jane! + +JOSHUA. + +Of Jane? + +GILBERT. + +Yes, of Jane! Only of Jane. What does the rest matter to me? You have +forgotten, have you? You don't remember that for one whole month, +glued to the bars of my cell, from which I can look into the street, +I have watched her, pale and sad, wandering around the base of this +tower, which holds two men, Fabiani and me. You have forgotten all +about my anguish, have you, and my doubts, my misgivings? For which +of us does she come? Poor wretch, I ask myself this question day and +night. I asked you, Joshua; and last night you promised to try to see +her, and speak to her. Oh, tell me! Did you learn anything! Is it for +me she comes, or is it for Fabiani? + +JOSHUA. + +I learned that Fabiani is certainly to be beheaded to-day, and you +to-morrow, and from that moment I confess I lost my head, Gilbert. +The scaffold drove Jane entirely out of my thoughts. Your death-- + +GILBERT. + +My death! What do you mean by that word! My death is that Jane loves +me no longer. From the day that I was no longer beloved, I was dead. +Oh, yes! truly dead. Joshua, what has remained of me since that time +won't be worth taking to-morrow. Oh, Joshua, you don't know, you +can't understand what a man is when he loves. If any one had said to +me, two months ago, "Jane, your Jane without reproach, your Jane so +pure, your love, your pride, your lily, your treasure, Jane will give +herself to another; will you take her then?" I should have said, "No, +I will not have her! rather death a thousand times for her and for +myself." And I should have crushed under my feet any one who had +dared to speak to me like that. If I would take her?--To-day, you +know, Jane is no longer the Jane without stain, whom I adored, the +Jane whose brow I hardly dared touch with my lips. Jane has given +herself to another--to a wretch! I know it--and--well, it's all the +same to me. I love her! My heart is broken, but I love her! I would +kiss the hem of her dress, and I would ask her pardon, if she would +only take me. She might be in the gutter with those who belong there, +and I would take her out, and I would hold her close to my heart, +Joshua! Joshua, I would give, not a hundred years of life, since I no +longer possess one day, but the eternity which will be mine +to-morrow, just to see her smile at me once more--just once more +before my death--and to have her say to me those dear words she used +to say, "I love you." Joshua, Joshua, that is the way a man's heart +is, when he loves. You think you would kill the woman who betrays +you? No, you wouldn't kill her; you would lie at her feet afterward, +the same as before, only you would be sad. You think I am weak? What +should I have gained in killing Jane? Oh, my heart will burst with +all these unbearable thoughts! If she only loved me now, what would +it matter to me, what she has done? But she loves Fabiani! But she +loves Fabiani! It is for Fabiani that she comes here! There is one +thing that is sure, it is that I want to die. Have pity on me, +Joshua! + +JOSHUA. + +Fabiani will die to-day. + +GILBERT. + +And I to-morrow. + +JOSHUA. + +God is above all. + +GILBERT. + +I will be revenged on him to-day. To-morrow, he will be revenged on +me! + +JOSHUA. + +My brother, here is the second constable of the Tower, Master Eneas +Dulverton. You must go in. I will see you again to-night. + +GILBERT. + +Oh, to die without being beloved! To have no one to weep for us! +Jane! Jane! Jane! + +[_Re-enters his cell._ + +JOSHUA. + +Poor Gilbert! Good God! Who could have foretold that what has +happened would happen? + +[_Goes out. Enter Simon Renard and Master Eneas._ + + +SCENE II + +Simon Renard, Master Eneas Dulverton + +SIMON RENARD. + +As you say, it is very extraordinary. But what can you expect? The +Queen is crazy. She doesn't know what she wants. You can't count upon +anything. She is a woman. I would like to know what she is here for. +Well! a woman's heart is a riddle of which King Francis I. wrote the +solution on that pane of glass at Chambord-- + + "A woman's heart is most capricious; + Who trusts her, finds life not propitious." + +Listen to me, Master Eneas. We are old friends; we must get through +with this thing to-day. Everything here depends upon you. If you are +ordered--[_He whispers to Eneas_] be slow about it; let it fall +through skillfully. Let me have two clear hours before me to-night, +and what I want will be accomplished; to-morrow there will be no +favorite. I shall be all-powerful, and you will be baronet and +lieutenant of the Tower the day after. Do you understand? + +MASTER ENEAS. + +I understand. + +SIMON RENARD. + +Very well. Some one is coming. We must not be seen together. Go out +that way. I am going to meet the Queen. [_They separate._ + + +SCENE III + +_A Jailer enters with caution, then ushers in Lady Jane._ + +THE JAILER. + +You are where you wished to be, my lady. Here are the doors to the +two cells. My recompense, now, if you please. + +[_Jane unfastens her diamond bracelet and gives it to him._ + +JANE. + +There it is. + +THE JAILER. + +Thanks. Don't compromise me. + +[_He goes out._ + +JANE (_alone_). + +Kind Heaven! What shall I do? It is I who have destroyed him. I must +be the one to save him! I can never do it, never! A woman can do +nothing! The scaffold-- The scaffold! Oh, it is horrible! Come, no +more tears; let us have action! I never can do it! I never can do it! +Have mercy on me, my God! I think some one is coming. Whose voice is +that? I recognize it. It is the Queen's voice! Ah, all is lost! + +[_She hides behind a pillar. The Queen and Simon Renard enter._ + + +SCENE IV + +_The Queen; Simon Renard; Jane, concealed_ + +THE QUEEN. + +Ah, the change surprises you? I am no longer myself? Well, what does +that matter to me? It is the truth! I don't want him to die--now! + +SIMON RENARD. + +Yet yesterday, your Majesty ordered the execution to take place +to-day. + +THE QUEEN. + +As I ordered the day before, that the execution should take place +yesterday. As I ordered Sunday that the execution should take place +Monday. To-day I ordered the execution to take place to-morrow. + +SIMON RENARD. + +As a matter of fact, since the second Sunday in Advent, when the +decision was pronounced in the Star Chamber, and the two criminals +came back to the Tower preceded by the executioner with the ax turned +toward them--and that was three weeks ago--every day since then your +Majesty has put the matter off until to-morrow. + +THE QUEEN. + +Well, can't you understand what that means, sir? Must I explain +everything, and must a woman be forced to show her naked heart to +you, because she is a Queen--unfortunate woman that she is--and +because you represent the Prince of Spain, her future husband? You +don't understand, you men, that with a woman the heart has its +chastity as well as the body. Well, then, yes--since you want to +know, since you make believe that you don't understand anything--yes, +every day I put off Fabiani's execution until to-morrow, because +every morning my courage fails me when I think that the bell of the +Tower of London will ring out his death-knell; because to think they +are sharpening an ax for that man, breaks my heart; because it kills +me to think they will nail a coffin over him; because I am a woman, +because I am weak, because I am insane, because I love him yet, my +God! There! have you got enough? Are you satisfied? Do you understand +now? Oh, some day, my lord, I will have my revenge on you, for all +these things you have made me tell you! + +SIMON RENARD. + +Yet it ought to be about time to get through with this Fabiani! You +expect to marry my royal master, the Prince of Spain, madame! + +THE QUEEN. + +If the Prince of Spain is not satisfied, let him say so; we will +marry somebody else. Suitors are not lacking. The son of the King of +the Romans, the Prince of Piedmont, the Infante of Portugal, Cardinal +Polus, the King of Denmark, and Lord Courtenay are as good noblemen +as he! + +SIMON RENARD. + +Lord Courtenay! Lord Courtenay! + +THE QUEEN. + +An English baron is worth a Spanish prince, my lord. Besides, Lord +Courtenay is descended from the emperors of the East. Oh, get mad if +you like! + +SIMON RENARD. + +Fabiani has made himself hated by every one in London who has got a +heart. + +THE QUEEN. + +Except by me! + +SIMON RENARD. + +Peasants and lords are united against him, and if he is not executed +this very day, as your Majesty has promised-- + +THE QUEEN. + +Well! + +SIMON RENARD. + +There will be an uprising among the people. + +THE QUEEN. + +I've got my lansquenets. + +SIMON RENARD. + +There will be a conspiracy among the nobles. + +THE QUEEN. + +I have the executioner. + +SIMON RENARD. + +Your Majesty swore upon your mother's prayer-book that you would not +pardon him. + +THE QUEEN. + +Here is a signature in blank which he has sent to me, in which I +swear on my imperial crown that I will pardon him! My father's crown +is worth as much as my mother's prayer-book. One oath destroys the +other. But who says that I will pardon him? + +SIMON RENARD. + +He has boldly betrayed you, madame! + +THE QUEEN. + +What does that matter? All men are alike about that. I don't want him +to die. Listen, my lord--I mean Sir Bailiff. Good God! you confuse my +mind so much that I can't even tell whom I am talking to. Oh, I know +all that you want to say to me! I know he is a vile, degraded, +contemptible man. I know it as well as you, and I blush for it. But I +love him! What do you want me to do about it? I would probably love a +better man less. Moreover, who are you--all of you--great as you may +be? Are you any better than he? You will tell me that he is a +favorite, and the English nation detests favorites! Don't I know that +you only want to overthrow him to put the Earl of Kildare--that fool, +that Irishman--in his place, that he may have twenty heads a day cut +off? What does that matter to you? Don't talk to me about your Prince +of Spain; you make light enough of him. Don't talk to me about the +anger of M. de Noailles, the French embassador! M. de Noailles is an +idiot, and I will tell him so to his face. As for me, I am a woman; I +want things, and then I don't want them. I am not made all in one +piece. That man's life is necessary to my life. Oh, I beg of you, +don't put on that air of virginal sincerity and good faith. I know +all your intrigues. Between us two, you know as well as I that he +didn't commit the crime for which he is condemned. Well, it is +settled. I don't want Fabiani to die. Am I the mistress, or am I not? +Come, Sir Bailiff, let us talk about something else, will you? + +SIMON RENARD. + +I withdraw, madame. All your nobles have spoken to you through my +voice. + +THE QUEEN. + +What do I care for my nobles! + +SIMON RENARD (_aside_). + +Suppose we try the people! + +[_He goes out with respectful salutation._ + +THE QUEEN (_alone_). + +He went out with a singular expression. That man is capable of +arousing a rebellion. I must hurry off to the City Hall. What ho! +Some one! [_Master Eneas and Joshua appear._ + + +SCENE V + +_The same, without Simon Renard. Master Eneas, Joshua_ + +THE QUEEN. + +Is it you, Master Eneas? This man and you, you must attend to it that +the Earl of Clanbrassil makes his escape at once. + +MASTER ENEAS. + +Madame-- + +THE QUEEN. + +Very well! I won't trust you; I remember you are one of his enemies. +Are there none but enemies of the man I love, around me? I will wager +that this turnkey, whom I don't even know, he hates him too. + +JOSHUA. + +You are right, madame. + +THE QUEEN. + +My God! My God! This Simon Renard is more a king than I am a queen! +What! not one person to trust? No one to whom I can give power to +plan his escape? + +JANE (_coming out from behind the pillar_). + +Yes, madame, I! + +JOSHUA (_aside_). + +Jane! + +THE QUEEN. + +You! Who are you? Ah, it is you, Jane Talbot. What are you doing +here? Never mind, you are here! You have come to save Fabiani; thank +you! I ought to hate you, Jane; I ought to be jealous of you. I have +reason enough to be! But I'm not! I love you for loving him! In front +of the scaffold there is no more jealousy--nothing but love! You are +like me, you forgive him. I understand; men don't understand these +things. Lady Jane, let us have it clearly understood. We are both of +us miserable, are we not? We must save Fabiani! I have no one but +you. I must let you do it! At least, I am sure, you will do it with +all your heart. Take charge of it, gentlemen, both of you. Do +everything that Lady Jane directs you to do, and upon your heads, you +will be answerable for the execution of her orders. Embrace me, young +woman! + +JANE. + +The Thames washes the base of the Tower on this side. I noticed a +secret passage. A boat at that place, and the escape might be made by +the Thames. It is the safest way. + +MASTER ENEAS. + +It will be impossible to get a boat there, before an hour. + +JANE. + +That is very long. + +MASTER ENEAS. + +It will soon pass! It will be dark, too. That will be better if her +Majesty wishes to keep the escape secret. + +THE QUEEN. + +Perhaps you are right. In one hour then. I leave you, Lady Jane. I +must go to the City Hall. Save Fabiani! + +JANE. + +Make yourself easy, madame! + +[_The Queen goes out; Jane follows her with her eyes._ + +JOSHUA (_front of stage_). + +Gilbert was right; she loves Fabiani! + + +SCENE VI + +_The same, without The Queen_ + +JANE (_to Master Eneas_). + +You have heard the Queen's commands. A boat, there, at the base of +the Tower, the keys of the secret corridors, a cap, and a cloak. + +MASTER ENEAS. + +Impossible to get all that before night. In one hour, my lady. + +JANE. + +Very well! Go! Leave me with this man. + +[_Master Eneas goes out. Jane follows him with her eyes._ + +JOSHUA (_aside, at front stage_). + +"This man!" It is very natural. One who has forgotten Gilbert will +not remember Joshua. + +[_He goes to Fabiani's cell and is about to open it._ + +JANE. + +What are you doing there? + +JOSHUA. + +Forestalling your wishes, my lady. I am opening this door. + +JANE. + +What door is that? + +JOSHUA. + +The door of my Lord Fabiani's cell. + +JANE. + +And that one? + +JOSHUA. + +It is the door to another man's cell. + +JANE. + +Who is he--that other? + +JOSHUA. + +Another who is condemned to death; some one whom you do not know--a +workman named Gilbert. + +JANE. + +Open that door! + +JOSHUA (_after having opened it_). + +Gilbert! + + +SCENE VII + +Jane, Gilbert, Joshua + +GILBERT (_from the interior of his cell_). + +What is wanted? + +[_He appears on the threshold, sees Jane, leans trembling against +the wall._ + +Jane! Lady Jane Talbot! + +JANE (_on her knees, without lifting her eyes to him_). + +Gilbert, I have come to save you! + +GILBERT. + +Save me! + +JANE. + +Listen to me! Pity me! Do not crush me! I know all that you would +say. It is all true; but don't say it to me. I must save you. +Everything is ready. The escape is safe. Let yourself be saved by me, +just as if I were anybody else. I don't ask any more. You need never +recognize me again. You need never know who I am! Don't forgive me! +Just let me save you. Will you? + +GILBERT. + +Thank you! It is useless. Why wish to save my life, Lady Jane, if you +do not love me? + +JANE (_with joy_). + +Oh, Gilbert, is that what you ask me, truly? Gilbert, do you deign to +think of what is passing in this poor girl's heart? Gilbert, is it +possible that the love I have for you can interest you, can seem +worth thinking about? Oh, I thought it was quite indifferent to +you--that you despised me too much to wonder what I did with my +heart. Gilbert, if you only knew how these words you have spoken make +me feel! Oh, it is an unhoped-for gleam of sunshine in my dark night. +Oh, listen to me! If I dared to draw near to you, if I dared to touch +your garments, if I dared to take your hand in mine, if I dared once +more to lift mine eyes to you and to Heaven, as I did once--do you +know what I would say to you? On my knees, prostrate, weeping at your +feet, with sobs on my lips and the joy of angels in my heart, I would +say, "Gilbert, I love you!" + +GILBERT (_taking her to his heart with rapture_). + +You love me? + +JANE. + +Yes, I love you! + +GILBERT. + +You love me! My God! she loves me. It is indeed true! She has said it +herself; her lips have spoken it. God in heaven! + +JANE. + +My Gilbert! + +GILBERT. + +You say all is prepared for my escape? Quick--let us hurry! Life! I +want to live! Jane loves me! This roof descends on my head and +crushes it. I want air! I suffocate here! Let us fly quickly. Let us +go, Jane! I want to live! I want to live! I am beloved. + +JANE. + +Not yet. We must have a boat. We must wait until night. But be easy. +You are saved. In less than an hour we will be outside. The Queen is +at the City Hall and will not come back so soon as that. I am +mistress here. I will explain it all to you. + +GILBERT. + +Wait an hour? That is long. Oh, I yearn to get back to life and +happiness. Jane, Jane, you are there; I will live! You love me! I am +come back from hell! Restrain me. I will do something mad. I will +laugh, I will sing. Ah, you do love then? + +JANE. + +Yes, I love you! yes, I love you! And listen, Gilbert, believe me; +this is the truth as though I were on my death-bed: I have never +loved any one but you. Even in my fall, even in the midst of my sin, +I loved you. Scarcely had I fallen into the arms of that demon who +ruined me, when I wept for my angel. + +GILBERT. + +Forgotten! forgiven! Never speak of it again, Jane! What do I care +for the past? Who could resist your voice, who would do other than I +am doing? Yes, I pardon everything, my well-beloved child. The +foundation of love is mercy and pardon, Jane; jealousy and despair +burned the tears in my eyes, but I pardon you, but I thank you! You +are the only truly bright thing in this world; at each word that you +speak, I feel grief dies, and joy is born in my soul. Jane, lift your +head, stand up straight before me there and look at me! I tell you +that you are my child. + +JANE. + +Always generous! Gilbert, my well-beloved. + +GILBERT. + +I wish I were outside now: in our flight, far away: free, with you! +Oh, this night, which will never come! The boat is not there. Jane, +we will leave London at once, this night. We will leave England; we +will go to Venice. Men of my trade make a great deal of money there. +You will belong to me! Oh, my God! I am insane! I have forgotten the +name you bear. It is too proud a one, Jane. + +JANE. + +What do you mean? + +GILBERT. + +Daughter of Lord Talbot. + +JANE. + +I know one prouder still. + +GILBERT. + +Which? + +JANE. + +Wife of the workman Gilbert. + +GILBERT. + +Jane! + +JANE. + +Oh, no! Don't think I ask so much as that. I know I am unworthy of +that. I do not lift my eyes so high. I would never take such an +advantage of your pardon. The poor engraver Gilbert shall make no +mesalliance with the Countess of Waterford. No, I will follow you, I +will love you, I will never leave you; I will lie all day at your +feet, all night at your door. I will watch you work, I will help +you, I will give you all you need. I will be to you something less +than a sister, something more than a dog. And if you ever marry, +Gilbert--because God will want you to find somebody, some pure woman, +without stain and worthy of you--well, if you marry, and if your wife +is good, if she will let me, I will be your wife's servant. If she +won't have me, I will go off, far off, to die where I can. That is +the only way I shall ever leave you. If you do not marry I will +stay with you, always; I will be gentle and patient--oh, you shall +see!--and if people think ill of me because I am with you--well, they +can think what they please. I have no longer the right to blush, you +see--I am only an unfortunate woman! + +GILBERT (_falling at her feet_). + +You are an angel! You are my wife! + +JANE. + +Your wife? Ah, you are like God--your pardon purifies me. Be blessed, +Gilbert, for putting this crown upon my brow. + +[_Gilbert takes her up and folds her to his heart. While they stand +thus in each other's arms, Joshua takes Jane's hand._ + +JOSHUA. + +It is Joshua, Lady Jane! + +JANE. + +Good Joshua! + +JOSHUA. + +You did not know me a little while ago. + +JANE. + +No, I had to begin with him. + +[_Joshua kisses her hand._ + +GILBERT (_pressing her in his arms_). + +Ah, what happiness! But is it real, all this happiness? + +[_For some time a distant noise has been heard; confused voices, a +tumult. It grows dark._ + +JOSHUA. + +What is that noise? + +[_He goes to the window which overlooks the street._ + +JANE. + +Oh! My God! Let nothing happen! + +JOSHUA. + +There is a great crowd off there. Pick-axes, pikes, torches. The +Queen's pensioners on horseback, and fighting. They are all coming +this way! What cries! The devil! It looks like a public revolt. + +JANE. + +If it is only not against Gilbert. + +DISTANT CRIES. + +Fabiani! Death to Fabiani! + +JANE. + +Can you hear? + +JOSHUA. + +Yes. + +JANE. + +What are they saying? + +JOSHUA. + +I can't distinguish! + +JANE. + +Oh, my God! My God! + +[_Master Eneas and a boatman enter hastily through the concealed +door._ + + +SCENE VIII + +_The same. Master Eneas, a Boatman_ + +MASTER ENEAS. + +My Lord Fabiani! My lord, not an instant to lose! The people know the +Queen wanted to save your life. There is a revolt of the London +populace against you. In a quarter of an hour you will be torn to +pieces. My lord, save yourself. Here is a cloak and a cap. Here are +the keys. Here is a boatman. Don't forget that you owe it all to me. +My lord, make haste! [_Low to Boatman._] Remember, you are not to +hurry. + +JANE (_hastily covers Gilbert with the cloak and cap; low to +Joshua_). + +Heaven! If this man will only not recognize him. + +MASTER ENEAS (_looking into Gilbert's face_). + +What! this is not Lord Clanbrassil. You are not fulfilling the +Queen's orders, my lady. You are helping another to escape. + +JANE. + +All is lost! I ought to have foreseen this! Ah, sir, it is true! Have +mercy-- + +MASTER ENEAS (_low to Jane_). + +Silence! Go on! I have said nothing! I have seen nothing! + +[_He goes up stage with an air of indifference._ + +JANE. + +What does he say? Ah, Providence befriends us. Everybody wants to +save Gilbert. + +JOSHUA. + +No, my lady, everybody wants to destroy Fabiani. + +[_During the entire scene the cries have increased outside._ + +JANE. + +We must hurry, Gilbert. Come quickly. + +JOSHUA. + +Let him go alone! + +JANE. + +Leave him! + +JOSHUA. + +Only for a moment. No woman in the boat, if you want it to arrive +safe. It is too light yet; your dress is white. After the peril is +over, you will find each other again. Come this way with me. Let him +go that way. + +JANE. + +Joshua is right. Where will I find you, my Gilbert? + +GILBERT. + +Under the first arch of London Bridge. + +JANE. + +Good! Go quickly. The tumult increases. Oh, I wish you were safe +away! + +JOSHUA. + +Here are the keys. There are twelve doors to open and shut between +here and the water's edge. It will take you a good quarter of an +hour. + +JANE. + +A quarter of an hour! Twelve doors! That is frightful. + +GILBERT (_embracing her_). + +Good-by, Jane! A few more moments of separation and we will rejoin +each other for a life-time! + +JANE. + +For eternity. [_To the Boatman._] Sir, I place him in your care! + +MASTER ENEAS (_low to Boatman_). + +For fear of accident, don't hurry. + +[_Gilbert goes out with the Boatman._ + +JOSHUA. + +He is saved! Now for us! We must shut this cell. + +[_He shuts the door of Gilbert's cell._ + +All right! Come quickly; this way! + +[_He goes out, with Jane, through the other concealed door._ + +MASTER ENEAS (_alone_). + +Fabiani remains in the trap. Now, there is a shrewd little woman whom +Simon Renard would have paid a good deal for. How will the Queen take +all this? Provided the consequences do not fall on my shoulders! + +[_The Queen and Simon Renard enter with rapid steps. The tumult +outside has steadily increased. It is night. Cries of death, torches, +lights, sounds of moving masses; the click of arms, shots, the +stamping of horses. Several noblemen with daggers in their hands +accompany The Queen. Among them are the herald of England, +Clarence, bearing the royal banner, and the herald of the Order of +the Garter, Jarretiere, bearing the banner of that order._ + + +SCENE IX + +_The Queen, Simon Renard, Master Eneas, Lord Clinton, the two +heralds, lords, pages, etc._ + +The Queen (_low to Master Eneas_). + +Has Fabiani escaped? + +MASTER ENEAS. + +Not yet! + +THE QUEEN. + +Not yet! [_Giving him a terrible look._ + +MASTER ENEAS (_aside_). + +The devil! + +THE PEOPLE (_outside_). + +Death to Fabiani! + +SIMON RENARD. + +You must make your decision on the spot, madame. The people demand +this man's death! The Tower is besieged. The revolt is formidable. +Your nobles have been cut to pieces on London Bridge. Your Majesty's +pensioners hold their own yet; but, just the same, your Majesty has +been chased street by street, from the City Hall to the Tower of +London. Madame Elizabeth's followers have joined the people. You can +tell that by the venom of the mob. All this is serious. What does +your Majesty command? + +THE PEOPLE. + +Fabiani! Death to Fabiani! + +[_They grow louder, and come nearer._ + +THE QUEEN. + +Death to Fabiani! Do you hear that howling populace, my lords? You +must throw a man out to them. The rabble is hungry! + +SIMON RENARD. + +What does your Majesty command? + +THE QUEEN. + +By heaven, my lords! it seems to me you all stand trembling around +me! Upon my soul! must a woman show you your duty as noblemen? To +horse, my lords, to horse! Are you afraid of the rabble? Are swords +afraid of clubs? + +SIMON RENARD. + +Don't let things go any further. Yield, madame, while there is yet +time. You can yet say "the rabble"; in an hour you will have to say +"the people"! + +[_The cries increase, the noise comes nearer._ + +THE QUEEN. + +In an hour! + +SIMON RENARD (_going to gallery and returning_). + +In a quarter of an hour, madame. The first wall of the Tower is +broken down. One more step, the mob will be here. + +THE PEOPLE. + +To the Tower! to the Tower! Fabiani! death to Fabiani! + +THE QUEEN. + +How right they are who call the people terrible! Fabiano! + +SIMON RENARD. + +Do you want to see him torn to pieces before your eyes? + +THE QUEEN. + +Do you know this is infamous, that not one of you stirs? In the name +of Heaven, defend me, my lords! + +LORD CLINTON. + +You? yes, madame. Fabiano? no! + +THE QUEEN. + +Very well, I will tell you all then, so much the worse for you. +Fabiano is innocent. Fabiano never committed the crime for which he +was condemned. It was I, and this man here, and the engraver Gilbert. +We did it all; we invented it all; we imagined it all. It was all a +farce! Contradict me if you dare, Sir Bailiff! Now, gentlemen, will +you defend him? He is innocent; I swear it. On my head, on my crown, +on my God, on my mother's soul, he is innocent of the crime. It is as +true as that you stand there, Lord Clinton! Defend him! Annihilate +these wretches as you annihilated Tom Wyatt, my brave Clinton, my old +friend, my good Robert! I swear to you that it is false that Fabiano +tried to assassinate the Queen. + +LORD CLINTON. + +There is another Queen whom he tried to assassinate--England! + +[_The cries continue outside._ + +THE QUEEN. + +The balcony! Open the balcony. I myself will prove to the people that +he is not guilty. + +SIMON RENARD. + +Prove to the people that he is not Italian. + +THE QUEEN. + +When I think it is Simon Renard, one of Cardinal Granvelle's +creatures, who dares to speak to me like this! Well, open that door! +open that cell! Fabiano is there. I want to see him; I want to speak +to him. + +SIMON RENARD (_low_). + +What are you doing? For his own sake, you needn't let everybody know +where he is. + +THE PEOPLE. + +Death to Fabiani! Long live Elizabeth! + +SIMON RENARD. + +They cry long live Elizabeth, now! + +THE QUEEN. + +My God! My God! + +SIMON RENARD. + +Choose, madame [_with one hand he points to the cell_], this head to +the people [_with the other hand he designates the crown which the +Queen wears_] or that crown to Madame Elizabeth. + +THE PEOPLE. + +Death! Death! Fabiani! Elizabeth! + +[_A stone breaks through a pane of glass near The Queen._ + +SIMON RENARD. + +Your Majesty is destroying herself without saving him! The second +court is reached. What does the Queen command? + +THE QUEEN. + +You are all cowards, and Clinton is the worst of all. Ah, Clinton, I +will remember this, my friend! + +SIMON RENARD. + +What does the Queen command? + +THE QUEEN. + +Oh, to be abandoned by all of you! to have confessed all without +obtaining anything! What sort of creatures are these noblemen here? +That populace is infamous! I would like to crush them under my feet. +There are times then, when a queen is nothing but a woman? You will +pay dear for this, gentlemen! + +SIMON RENARD. + +What does the Queen command? + +THE QUEEN (_crushed_). + +Whatever you will. Do what you like. You are an assassin. [_Aside._] +Oh, Fabiano! + +SIMON RENARD. + +Clarence! Jarretiere! Come here! Master Eneas, open the great balcony +of the gallery. + +[_The balcony in the back opens. Simon Renard steps out upon it, +Clarence at his right, Jarretiere at his left. Immense tumult outside._ + +THE PEOPLE. + +Fabiani! Fabiani! + +SIMON RENARD (_on the balcony, turned toward the people_). + +In the Queen's name! + +HERALDS. + +In the Queen's name! + +[_Profound silence outside._ + +SIMON RENARD. + +People, the Queen bids you know this: To-day, this very night, one +hour after the curfew, Fabiano Fabiani, Earl of Clanbrassil, covered +with a black veil from head to foot, bound with an iron gag, a yellow +wax candle weighing three pounds in his hand, will be led, by +torchlight, from the Tower of London, through Charing Cross, to the +old Market-Place of the city, there to be publicly punished and +beheaded, for the crimes of high treason and attempt of regicide on +the imperial person of the Queen! + +[_Immense applause outside._ + +THE PEOPLE. + +Long live the Queen! Death to Fabiani! + +SIMON RENARD (_continuing_). + +And, in order that no one in this city of London shall ignore it, +this is what the Queen orders during the entire journey, which the +criminal must make from the Tower of London to the old Market-Place: +The great bell of the Tower shall toll; at the moment of the +execution, three cannon-shots will be fired--the first, when he +mounts the scaffold; the second, when he kneels upon the black cloth; +the third, when his head falls. [_Applause._] + +THE PEOPLE. + +Illuminate! Illuminate! + +SIMON RENARD. + +This night the Tower and the city of London will be illuminated with +lights and torches, in sign of joy. I have spoken. [_Applause._] God +protect the old charter of England! + +THE TWO HERALDS. + +God protect the old charter of England. + +THE PEOPLE. + +Death to Fabiani! Long live Mary! Long live the Queen! + +[_The balcony is closed. Simon Renard approaches The Queen._ + +SIMON RENARD. + +What I have just done will never be forgiven me by the Princess +Elizabeth! + +THE QUEEN. + +Nor by Queen Mary. Leave me, sir. + +[_She dismisses them all with a gesture._ + +SIMON RENARD (_low to Master Eneas_). + +Master Eneas, look to the execution! + +MASTER ENEAS. + +Count upon me! + +[_Simon Renard goes out. As Master Eneas is about to go, The +Queen rushes to him, seizes him by the arm and drags him violently +to the front of the stage._ + + +SCENE X + +The Queen, Master Eneas + +THE PEOPLE (_outside_). + +Death to Fabiani! Fabiani! Fabiani! + +THE QUEEN. + +Whose head is worth most at this moment, do you think--Fabiani's or +yours? + +MASTER ENEAS. + +Madame! + +THE QUEEN. + +You are a traitor! + +MASTER ENEAS. + +Madame! [_Aside._] The devil! + +THE QUEEN. + +No explanations! I swear by my mother, if Fabiano dies, you die! + +MASTER ENEAS. + +But, madame-- + +THE QUEEN. + +Save Fabiano, and you save yourself--not otherwise! + +THE PEOPLE. + +Death to Fabiani! Fabiani! + +MASTER ENEAS. + +Save the Earl of Clanbrassil? But the people are out there! It is +impossible! By what means? + +THE QUEEN. + +Find some! + +MASTER ENEAS. + +What could I do? + +THE QUEEN. + +Do what you would for yourself. + +MASTER ENEAS. + +The people will keep armed until after the execution. To satisfy +them, somebody must be beheaded! + +THE QUEEN. + +Anybody you please. + +MASTER ENEAS. + +Anybody I please? Wait, madame! The execution will be at night, by +torchlight; the criminal covered with a black veil, gagged; the +people kept a long way from the scaffold by the pike-men, the same as +always. It is enough, if the people see a head fall. The thing is +possible. If only the boatman is there yet! I told him not to hurry. + +[_He goes to the window which overlooks the Thames._ + +There he is, but we're just in time! + +[_He leans out of the window, a torch in his hand, waving his +handkerchief, then he turns to The Queen._ + +All right! I will answer for Lord Fabiani, madame! + +THE QUEEN. + +On your head? + +MASTER ENEAS. + +On my head! + + + + +THIRD DAY + +PART II + + +Scene.--_A hall or room into which lead two staircases, one +ascending and the other descending. The entrance to each of these +staircases fills a portion of the back of the stage. The one which +ascends ends at the frieze; the one which descends ends +underneath--neither the beginning nor the end is visible_ + +_The room is draped with black in a peculiar fashion. The wall on the +right, the wall on the left, and the ceiling are covered with a black +cloth on which is a large white cross; the background, which faces +the spectator, with a white cloth and large black cross. These black +and white draperies continue until they are lost to sight under the +staircases. To the right and to the left, there is an altar draped +with black and white, decorated as if for a funeral. Tall candles. No +priests. A few funeral lamps, hanging here and there from the vaulted +roof, light the room and the staircases feebly. What really lights +the room is the great white cloth in the background, through which +a reddish light shines as if there were a fiery furnace behind. The +room is paved with tombstones. As the curtain rises, the motionless +figure of The Queen is seen in black outline on this transparent cloth_ + + +Scene I + +_Jane, Joshua. They enter cautiously through a little door behind +the black draperies, which they push aside_ + +JANE. + +Where are we, Joshua? + +JOSHUA. + +On the great landing of the staircase down which the criminals go to +execution. It was draped in this way under Henry VIII. + +JANE. + +No way of getting out of the Tower? + +JOSHUA. + +The people are on guard at every exit. They want to be sure of +getting their criminal this time. No one can go out before the +execution. + +JANE. + +The proclamation they made from the balcony rings in my ears yet. +This is a horrible thing, Joshua. + +JOSHUA. + +Oh, I've seen many such! + +JANE. + +If only Gilbert has been able to escape. Do you think he is safe, +Joshua? + +JOSHUA. + +I am sure of it. + +JANE. + +You are sure of it, good Joshua? + +JOSHUA. + +The Tower wasn't surrounded on the waterside. Then, when he started, +the riot wasn't as bad as it was afterward. It was a fine riot, if +you but knew it. + +JANE. + +You are sure that he is safe? + +JOSHUA. + +And waiting for you under the first arch of London Bridge, where you +will meet him before midnight. + +JANE. + +Heaven! He will be anxious too. + +[_Seeing the shadow of The Queen._ + +My God! what is that, Joshua? + +JOSHUA (_low, taking her hand_). + +Silence! It is the lioness, on the watch. + +[_While Jane looks at this figure in horror, a distant voice, which +seems to come from above, pronounces these words slowly and +distinctly._ + +VOICE. + +The man, covered with a black veil, who follows me, is the very high +and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of +Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded +at the London Market-Place, for the crimes of regicide and high +treason. God have mercy on his soul! + +ANOTHER VOICE. + +Pray for him! + +JANE (_trembling_). + +Joshua, do you hear? + +JOSHUA. + +Yes, I hear such things every day. + +[_A funeral procession appears at the head of the staircase, and +gradually forms itself on the steps as it descends. A man dressed in +black is at the head, bearing a white banner with black cross. Next +comes Master Eneas Dulverton, wearing a great black cloak, holding +his Constable's baton in his hand. Then a group of halberdiers, +dressed in red; then a man in white, bearing black banner with white +cross. To the right and to the left, halberdiers bearing torches._ + +JANE. + +Do you see? + +JOSHUA. + +Yes, I see such things every day. + +[_As they are about to reach the stage the procession stops._ + +MASTER ENEAS. + +The man, covered with a black veil, who follows me, is the very high +and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of +Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded +at the London Market-Place, for the crimes of regicide and high +treason. God have mercy on his soul! + +THE TWO STANDARD-BEARERS. + +Pray for him! + +[_The procession slowly crosses the back of the stage._ + +JANE. + +This is a terrible thing we are looking at, Joshua. It freezes my +blood. + +JOSHUA. + +That abominable Fabiani! + +JANE. + +Peace, Joshua! Very abominable, but very unfortunate. + +[_The procession reaches the other staircase: Simon Renard, who +appeared at the entrance of this staircase, some moments before, and +has observed everything, moves aside to let them pass. The procession +goes under the arch of the staircase, and gradually disappears. +Jane, terrified, follows it with her eyes._ + +SIMON RENARD (_after the procession has disappeared_). + +What does this mean? Is that really Fabiani? I thought him not so +tall. Has Master Eneas?--It seems to me the Queen kept him near her +for a moment. Let us see! + +[_He disappears under the staircase, following the procession._ + +VOICE (_which grows fainter and fainter_). + +The man, covered with a black veil, who follows me, is the very high +and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of +Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded +at the London Market-Place, for the crimes of regicide and high +treason. + +OTHER VOICES (_almost indistinct_). + +Pray for him! + +JOSHUA. + +The great bell will announce his exit from the Tower, presently. +Perhaps you can make your escape now: I must try to find a way. Wait +for me here: I will come back. + +JANE. + +Are you going to leave me, Joshua? I will be afraid here, all alone. + +JOSHUA. + +It will be dangerous for you to wander over the Tower with me. I must +get you away from here. Remember Gilbert is waiting for you. + +JANE. + +Gilbert? Everything for Gilbert. Go! + +[_Joshua goes out._ + +Oh, what a terrible sight!--when I think that it might have been like +this for Gilbert. + +[_She kneels on one of the altar steps._ + +Oh, thank you! You are indeed God the Saviour. You have saved +Gilbert. + +[_The cloth at the back opens. The Queen appears: she comes slowly +to the front of the stage, without seeing Jane, who turns around._ + +The Queen! My God! + + +SCENE II + +_Jane, The Queen. Jane clings to the altar, with horror, and fixes +a look of stupor and terror on The Queen's face_ + +THE QUEEN (_she stands a few seconds at the front of the stage, her +glance fixed, pale, as if absorbed in gloomy thoughts. At last she +sighs profoundly_). + +Oh, the people! + +[_She looks around with anxiety and sees Jane._ + +Some one is here. Oh, it is you, young woman! It is you, Lady Jane. I +frighten you. Don't be afraid. You know the turnkey Eneas betrayed +us. Don't be afraid. I have already told you, child, you have nothing +to fear from me. What was your ruin a month ago is your salvation +to-day. You love Fabiano. There are only you and I in the whole world +to-day who have a heart like that. Only you and I love him. We are +sisters. + +JANE. + +Madame-- + +THE QUEEN. + +Yes, you and I--two women, we are all he has! Every one else is +against him; a whole city, a whole nation, a whole world. Unequal +struggle of love against hate. Love for Fabiano is a sad thing, a +fatal, a horror-stricken thing: it has a pallid brow like yours, +tear-filled eyes like mine; it hides itself close to a funereal +altar; it entreats with your lips, it curses with mine. But hate for +Fabiano is a proud thing, radiant, triumphant: it is well-armed and +victorious; it has the Court, the people, the crowded streets; it +munches cries of death and cries of joy at the same time; it is +magnificent, haughty, powerful; it illuminates a whole city +surrounding a scaffold. Love, here it is--two women weeping in a +tomb! Hate, there it is! + +[_She pulls the white cloth violently aside, which reveals a balcony, +and beyond the balcony, almost out of sight, the whole city of +London, brilliantly illuminated. What is visible of the Tower of +London is also illuminated. Jane fixes her amazed eyes on this +startling scene, the reflection of which lights up the theater._ + +THE QUEEN. + +Oh, infamous city; rebellious city; accursed city; monstrous +city--who soaks her holiday dress in blood, and who holds the torch +for the executioner! You are afraid of it, aren't you, Jane? Doesn't +it seem to you, as it does to me, that it cowardly defies us both; +that it is watching us with its hundred thousand flaming eyes--us, +feeble, forsaken women that we are, alone and lost in this sepulcher? +Jane, do you hear it howl and laugh--that horrible city? Oh, England, +all England to him who will destroy London! Would that I could change +those torches into fiery brands, those lights into flames, and that +illuminated city into a city of _fire_! + +[_A tremendous outburst from the people outside--applause, confused +cries, "There he is! There he is! Death to Fabiani--" The great +bell of the Tower begins to toll. At this sound, The Queen breaks +into a terrible peal of laughter._ + +JANE. + +God! The unfortunate man is leaving the Tower!--You laugh, madame! + +THE QUEEN. + +Yes, I laugh! [_She laughs._] Yes, and you will laugh, too. Let me +drop those hangings first. It seems to me all the time as if we were +not alone, as if that frightful city could see and hear us. + +[_She drops the white curtain and comes back to Jane._ + +Now that he is gone, now that there is no more danger, I can tell you +about it. Laugh, laugh, let us both laugh at those execrable people +who drink blood! Oh, it is grand, Jane! Jane, you tremble for +Fabiano? Be at ease, laugh with me, I tell you. Jane, the man they've +got, the man who is going to die, the man they think is Fabiano--is +not Fabiano. + +[_She laughs._] + +JANE. + +Not Fabiano? + +THE QUEEN. + +No! + +JANE. + +Then who is it? + +THE QUEEN. + +The other! + +JANE. + +What other? + +THE QUEEN. + +You know well enough! You know him--that workman--that man. Besides, +what does it matter? + +JANE (_trembling with terror_). + +Gilbert? + +THE QUEEN. + +Yes, Gilbert! That is the name. + +JANE. + +Madame! Oh, no, madame! Don't say that, madame! Gilbert--it would be +too horrible! He has escaped! + +THE QUEEN. + +He was escaping when they seized him. They put him under the black +veil in Fabiano's place. It is night. The people won't know. Rest +easy. + +JANE (_with a frightful cry_). + +Ah, madame! But the man I love--it is Gilbert! + +THE QUEEN. + +What? What do you say? Are you going crazy? Did you deceive me, too? +Ah, it is Gilbert whom you love! Well, what does that matter to me? + +JANE (_at The Queen's feet, broken-hearted, sobbing, dragging +herself on her knees, her hands clasped: the great bell tolls through +all this scene_). + +Madame--just for pity! Madame, in the name of Heaven! Madame, by your +crown, by your mother, by the angels! Gilbert, Gilbert--it will make +me mad! Madame, save Gilbert! That man, he is my life; that man, he +is my husband; that man-- I have told you that he did everything for +me, that he brought me up, that he adopted me, that beside my cradle +he took the place of my father, who died for your father. Madame, you +see that I am a poor, wretched creature, and it isn't right to be too +hard on me. What you said to me just now struck such a terrible blow +that I don't truly see how it is I have strength to speak to you. I +am just saying what I can, you see. But you must stop the +execution--right away! Stop the execution! Put it off until +to-morrow. Just time to have things understood, that is all. The +people can wait until to-morrow, I know. We will see what we can do. +No! don't shake your head! There is no danger for your Fabiano. You +can put me in his place--under the black veil--at night. Who will +know? But you must save Gilbert. What difference does it make whether +it be he or I? And since--since I want to die! Oh, my God, that bell, +that frightful bell! Every knell of that bell is a step toward the +scaffold. Every knell of that bell strikes me full in the heart. Do +it, madame. Be merciful! No danger for your Fabiano! Let me kiss your +hands. I love you, madame. I never said it before--but I love you +dearly. You are a great queen. See, how I kiss your beautiful hands! +Give an order to stop the execution. There is time yet. I am sure we +can do it. They go so slowly. It is a long way from the Tower to the +old Market-Place. The man on the balcony said they would pass through +Charing Cross. There is a quicker way. A man on horseback could get +there. In Heaven's name, madame, be merciful! Try to put yourself in +my place. Imagine that I am Queen and you the poor young woman; and +you would weep as I do, and I would pardon. Pardon! Pardon! Oh, that +is what I was afraid of, that my tears would hinder me from speaking! +Oh, right away!--stop the execution! There won't be any trouble, +madame; no danger for Fabiano, I swear it to you. Don't you really +think you ought to do what I say, madame? + +THE QUEEN (_touched and lifting her up_). + +I wish I could, poor girl. Ah, yes, you are weeping as I wept; what +you feel I have just felt myself, and my anguish makes me understand +yours. Look! I am weeping too. It is very sad, my poor child. It +seems to me, too, they might have taken somebody else--Tyrconnel, for +instance. But he is too well known: they had to have some obscure +man. He was the only one they could get hold of. I explain all this +so that you can understand, don't you see? My God, there are +fatalities like that: we get caught. We can't do anything. + +JANE. + +I am listening to you, madame. I am like you. I have got many things +to say. But I would like to have the order to suspend the execution +signed, and the man sent off. You see it would be finished then. We +could talk better afterward. Oh, that bell! forever, that bell! + +THE QUEEN. + +What you want is impossible, Lady Jane. + +JANE. + +Oh, no, it is possible!--a man on horseback. There is a very short +way--by the wharf. I can go--I-- It is quite possible! It is easy! You +see I talk very quietly. + +THE QUEEN. + +But the people won't have it. They will come back here and massacre +everybody in the Tower. And Fabiano is here yet. Can't you +understand? You are trembling, poor child. I am like you--I tremble +also. In your turn, put yourself in my place. I might easily not take +the trouble to explain all this to you. You see I do what I can. +Don't think about this Gilbert any more. Jane, it is over-- Resign +yourself. + +JANE. + +Over! No, it is not over! No--as long as that horrible bell tolls, it +is not over! Resign myself to Gilbert's death? Do you think I am +going to let Gilbert die like that? No, madame! Ah, I am wasting my +time! Ah, you won't listen to me! Very well, if the Queen won't hear +me, the people will. They are good, the people--if you but knew it! +They are in the court yet. You can do what you like with me +afterward. I am going to tell them they are cheated; and that it is +not Fabiani, it's a poor workman, named Gilbert--a workman like +themselves! + +THE QUEEN. + +Stop, you wretched child! + +[_She seizes her arm and looks at her fixedly and resentfully._ + +This is the way you thank me, is it? I am patient and gentle with +you, I weep with you--and all at once, you get wild and furious! +Well, my love is just as great as yours, and my hand is more +powerful! You shall not stir! Your lover!--what do I care for your +lover? Are all the girls in England coming to ask me about their +lovers, now? By my soul, I save my own as well as I can, and at the +cost of everything which stands in his way. You must look after +yours. + +JANE. + +Let me go! Oh, I curse you, you wretched, wicked woman! + +THE QUEEN. + +Hush! + +JANE. + +I will not hush! Do you want me to tell you what I'm thinking of now? +I don't believe the man who is going to die out there is my Gilbert. + +THE QUEEN. + +What are you saying? + +JANE. + +I don't know, but I saw him pass by under that black veil; and if it +had been my Gilbert, something would have stirred in me, something +would have roused itself in my heart, and would have cried out to me, +"Gilbert--it is Gilbert." But I felt nothing at all; it is not +Gilbert. + +THE QUEEN. + +What are you saying? Ah, my God! you are crazy. What you have said is +idiotic, but it terrifies me just the same. Ah, you have roused one +of the secret terrors of my own heart! Why did that riot prevent me +from looking after him myself? Why did I intrust to any one but +myself the safety of my Fabiano? Eneas Dulverton is a traitor. +Perhaps Simon Renard was there. What if I have been betrayed a second +time by Fabiano's enemies? What if it is Fabiano himself? What, ho! +quick--some one--come--some one! + +[_Two Jailers appear._ + +[_To the first._] You--run! Here is my royal signet. Tell them to +suspend the execution. To the old Market-Place; to the old +Market-Place! There is a shorter way, you said, Jane. + +JANE. + +By the wharf. + +THE QUEEN (_to Jailer_). + +By the wharf. A horse--go quick! + +[_The Jailer goes out._ + +[_To the second Jailer._] You--go at once to Edward the Confessor's +Tower. The two cells of the condemned criminals are there. There is a +man in one of them. Bring him here at once. + +[_The Jailer goes out._ + +I tremble; my knees sink under me; I have not strength enough to go +myself. Ah, you have made me as mad as yourself! Miserable girl, you +have made me as wretched as yourself. I curse you as you cursed me. +My God, will the man get there in time? What a torturing anxiety! I +can't see anything more. All is trouble in my soul. Does the bell +toll yet? Is it for Gilbert? Is it for Fabiano? + +JANE. + +The bell ceases. + +THE QUEEN. + +Then the procession is on the place for the execution. Will the man +get there in time? + +[_A cannon-shot is heard._ + +JANE. + +Heaven! + +THE QUEEN. + +He is ascending the scaffold! [_Second cannon._ He is kneeling! + +JANE. + +It is horrible! [_Third cannon._ + +BOTH. + +Ah! + +THE QUEEN. + +There is only one alive now. In a moment we will know which one. My +God, let the man who comes in be Fabiano! + +JANE. + +My God, let it be Gilbert! + +[_The curtain at the back opens. Simon Renard appears, holding +Gilbert by the hand._ + +Gilbert! [_They rush into each other's arms._ + +THE QUEEN. + +And Fabiano? + +SIMON RENARD. + +Dead. + +THE QUEEN. + +Dead! Dead! Who has dared-- + +SIMON RENARD. + +I have dared. I have saved the Queen of England. + + + + +MARION DE LORME + + + + +DRAMATIS PERSONÆ + + Marion de Lorme. + Didier. + Louis XIII. + Marquis de Saverny. + Marquis de Nangis. + L'Angely. + M. de Laffemas. + Duke de Bellegarde. + Marquis de Brichanteau, } + Count de Gassé, } _Officers_ + Viscount de Bouchavannes, } _of the_ + Chevalier de Rochebaron, } _Regiment of_ + Count de Villac, } _Anjou._ + Chevalier de Montpesat, } + Duke de Beaupréau. + Viscount de Rohan. + Abbé de Gondi. + Count de Charnacé. + Scaramouche, } + Gracieux, } _Provincial comedians._ + Taillebras, } + Councilor of the Great Chamber. + Town Crier. + Captain. + A Jailer. + A Registrar. + The Executioner. + First Workman. + Second Workman. + Third Workman. + A Lackey. + Dame Rose. + _Provincial Comedians, Guards, Populace, Nobles, Pages._ + +1638. + + + + +MARION DE LORME + + + + +_ACT I_ + +THE MEETING + +Scene.--_Blois. A bed-chamber. A window opening on a balcony at the +back. To the right, a table with a lamp, and an armchair. To the left a +door, covered by a portière of tapestry. In the background a bed_ + + +SCENE I + +_Marion de Lorme, in a very elegant wrapper, sitting beside the table, +embroidering. Marquis de Saverny, very young man, blonde, without +mustache, dressed in the latest fashion of 1638_ + +SAVERNY (_approaching Marion and trying to embrace her_). + +Let us be reconciled, my sweet Marie! + +MARION (_pushing him away_). + +Not such close reconciliation, please! + +SAVERNY (_insisting_). + +Just one kiss! + +MARION (_angrily_). + + Marquis! + +SAVERNY. + + What a rage! Your mouth +Had sweeter manners, not so long ago! + +MARION. + +Ah, you forget! + +SAVERNY. + + No, I remember, dear. + +MARION (_aside_). + +The bore! the tiresome creature! + +SAVERNY. + + Speak, fair one! +What does this swift, unkind departure mean? +While all are seeking you at Place Royale, +Why do you hide yourself at Blois? Traitress, +What have you done here all these two long months? + +MARION. + +I do what pleases me, and what I wish +Is right. I'm free, my lord! + +SAVERNY. + + Free! Yes. But those +Whose hearts you've stolen, are they also free? +I? Gondi, who omitted half his Mass +The other day, because he had a duel +Upon his hands for you? Nesmond, D'Arquien, +The two Caussades, Pressigny, whom your flight +Has left so wretched, so morose, even +Their wives wish you were back in Paris, that +They might have gayer husbands! + +MARION (_smiling_). + + Beauvillain? + +SAVERNY. + +Is still in love. + +MARION. + + Cereste? + +SAVERNY. + + Adores you yet. + +MARION. + +And Pons? + +SAVERNY. + + Oh, as for him, he hates you! + +MARION. + + Proof +He is the only one who loves me! Well, +The President? +[_Laughing._] The old man! What's his name? + [_Laughing more heartily._ +Leloup! + +SAVERNY. + + He's waiting for you, and meanwhile +He keeps your portrait and sings odes to it. + +MARION. + +He's loved me two years now, in effigy. + +SAVERNY. + +He'd much prefer to burn you. Tell me how +You keep away from such dear friends. + +MARION (_serious, and lowering her eyes_). + + That's just +The reason, Marquis; to be frank with you, +Those brilliant follies which seduced my youth +Have given me much more misery than joy. +In a retreat, a convent cell, perhaps, +I want to try to expiate my life. + +SAVERNY. + +I'll wager there's a love-tale behind that. + +MARION. + +You dare to think-- + +SAVERNY. + + That never a nun's veil +Surmounted eyes so full of earthly fire. +It could not be. You love some poor provincial! +For shame! To end a fine romance with such +A page! + +MARION. + + It isn't true! + +SAVERNY. + + Let's make a wager! + +MARION. + +Dame Rose, what time is it? + +DAME ROSE (_outside_). + + Almost midnight! + +MARION (_aside_). + +Midnight! + +SAVERNY. + + That is a most ingenious way +Of saying, "Time to go." + +MARION. + + I live retired, +Receiving no one, and unknown to all. +Besides, 'tis dangerous to be out late: +The street is lonely, full of robbers. + +SAVERNY. + + Well, +They can rob me. + +MARION. + + And oftentimes they kill! + +SAVERNY. + +Good! they can kill me. + +MARION. + + But-- + +SAVERNY. + + You are divine! +But I'll not stir one foot before I know +Who this gay shepherd is, who's routed us! + +MARION. + +There's no one! + +SAVERNY. + + I will be discreet. We courtiers, +Whom people think so mad, so curious +And spiteful, are maligned. We gossip, but +We never talk! You're silent? + [_Sits down._] Then I'll stay! + +MARION. + +What does it matter? Well, it's true! I love! +I'm waiting for him! + +SAVERNY. + + That's the way to talk! +That's right! Where is it you expect him? + +MARION. + + Here! + +SAVERNY. + +When? + +MARION. + + Now! [_She goes to the balcony and listens._ + Hark! that is he perhaps. + [_Coming back._] 'Tis not. +Now are you satisfied? + +SAVERNY. + + Not quite! + +MARION. + + Please go! + +SAVERNY. + +I want to know his name, this proud gallant, +For whose reception I am thus dismissed. + +MARION. + +Didier is all the name I know for him. +Marie is all the name he knows for me. + +SAVERNY (_laughing_). + +Is't true? + +MARION. + + Yes, true! + +SAVERNY. + + This is a pastoral, +And no mistake. 'Tis Racan, pure! To enter, +I have no doubt he scales the wall. + +MARION. + + Perhaps. +Please go! [_Aside._] He wearies me to death! + +SAVERNY (_becoming serious_). + + Of course +He's noble. + +MARION. + + I don't know. + +SAVERNY. + + What? + +[_To Marion, who is gently pushing him toward the door._ + + I am going! [_Coming back._ +Just one word more! I had forgotten. Look! + +[_He draws a book out of his pocket and gives it to Marion._ + +An author who is not a fool, did this. +It's making a great stir. + +MARION (_reading the title_). + + "Love's Garland"--ah! +"To Marion de Lorme." + +SAVERNY. + + They talk of nothing +But this in Paris. That book and "The Cid" +Are the successful efforts of the day. + +MARION (_taking the book_). + +It's very civil of you; now, good-night! + +SAVERNY. + +What is the use of fame? Alack-a-day! +To come to Blois and love a rustic! Bah! + +MARION (_calling to Dame Rose_). + +Take care of the Marquis, and show him out! + +SAVERNY (_saluting her_). + +Ah, Marion, you've degenerated! [_He goes out._ + + +SCENE II + +_Marion, afterward Didier_ + +MARION (_alone, shuts the door by which Saverny +went out_). + + Go-- +Go quickly! Oh, I feared lest Didier-- + [_Midnight strikes._ + Hark! +It's striking midnight! Didier should be here! + +[_She goes to the balcony and looks into the street._ + +No one! + +[_She comes back and sits down impatiently._ + + Late! To be late--so soon! + +[_A young man appears behind the balustrade of the balcony, jumps over +it lightly, enters, places his cloak and sword on the armchair. Costume +of the day: all black: boots. He takes one step forward, pauses_ _and +contemplates Marion, sitting with her eyes cast down._ + + At last! + [_Reproachfully._ +To let me count the hour alone! + +DIDIER (_seriously_). + + I feared +To enter! + +MARION (_hurt_). + + Ah! + +DIDIER (_without noticing it_). + + Down there, outside the wall, +I was o'ercome with pity. Pity? yes, +For you! I, poor, accursed, unfortunate, +Stood there a long time thinking, ere I came! +"Up there an angel waits," I thought, "in virgin grace, +Untouched by sin--a being chaste and fair, +To whose sweet face shining on life's pathway +Each passer-by should bend his knees and pray. +I, who am but a vagrant 'mongst the crowd, +Why should I seek to stir that placid stream? +Why should I pluck that lily? With the breath +Of human passion, why should I consent +To cloud the azure of that radiant soul? +Since in her loyalty she trusts to me, +Since virtue shields her with its sanctity, +Have I a right to take her gift of love, +To bring my storms into her perfect day?" + +MARION (_aside_). + +This is theology, it seems to me! +I wonder if he is a Huguenot? + +DIDIER. + +But when your tender voice fell on my ear, +I wrestled with my doubts no more--I came. + +MARION. + +Oh, then you heard me speaking--that is strange! + +DIDIER. + +Yes; with another person. + +MARION (_quickly_). + + With Dame Rose! +She talks just like a man, don't you think so? +Such a strong voice! Ah, well, since you are here +I am no longer angry! Come, sit down. + [_Indicating a place at her side._ +Sit here! + +DIDIER. + + No! at your feet. + +[_He sits on a stool at Marion's feet and looks at her for some +moments in complete silence._ + + Hear me, Marie! +I have no name but Didier--never knew +My father nor my mother. I was left, +A baby, on the threshold of a church. +A woman, old, belonging to the people, +Preserved me, was my mother and my nurse. +She brought me up a Christian, then she died +And left me all she had--nine hundred francs +A year, on which I live. To be alone +At twenty is a sad and bitter thing! +I traveled--saw mankind: I learned to hate +A few and to despise the rest. For on +This tarnished mirror we call human life, +I saw nothing but pride and misery +And pain; so that, although I'm young, I'm old, +And am as weary of the world as are +The men who leave it. Never touched a thing +That did not tear and lacerate my soul! +Although the world was bad, I found men worse. +Thus I have lived; alone and poor and sad, +Until you came, and you have set things right. +I hardly know you. At the corner of +A Paris street you first appeared to me. +Then afterward I met you, and I thought +Your eyes were sweet, your speech was beautiful! +I was afraid of loving you, and fled! +But destiny is strange: I found you here, +I find you everywhere, as if you were +My guardian angel. So at last, my love +Grew powerful, resistless, and I felt +I must talk with you. You were willing. Now +They're at your service, both my heart and life. +I will do anything that you wish done. +If there is any man or anything +That troubles you, or you have any whim +And somebody must die to satisfy it-- +Must die, and make no sign--and feel 'twas worth +Death any time to see you smile; if you +Need such a man, speak, lady: I am here! + +MARION (_smiling_). + +You've a strange nature, but I love you so! + +DIDIER. + +You love me! Ah, take care! One dare not say +Such words in any careless way! Love me? +Oh, do you know what loving means? What 'tis +To feel love take possession of our blood, +Become our daily breath? To feel this thing +Which long has smoldered burst to flame, and rise +A great, majestic, purifying fire? +To feel it burn up clean within our hearts +The refuse other passions have left there? +This love, hopeless indeed, but limitless, +Which outlives all things, even happiness-- +Is this the kind of love you mean? + +MARION (_touched_). + + Indeed! + +DIDIER. + +You do not know it, but I love you so! +From that first time I saw you, my dark life +Was shot with sunlight streaming from your eyes; +Since then all's different. To me you seem +Some wonderful creation, not of earth. +My life, in whose dark gloom I groaned so long, +Grows almost beautiful when you are by. +For 'til you came, I'd wandered, suffered, wept; +I'd struggled, fallen--but I had not loved. + +MARION. + +Poor Didier! + +DIDIER. + + Speak, Marie! + +MARION. + + Well, then, I do. +I love with just this love--love you as much +And maybe more than you love me! It was +Not destiny that brought me here. 'Twas I +Who came, who followed you, and I am yours! + +DIDIER (_falling on his knees_). + +Oh, do not cheat me! Give me truth, Marie! +If to my ardent love your love responds, +The world holds no possession rich as mine! +My whole life, kneeling at your feet, will be +One sigh of speechless, blinding ecstasy. +But do not cheat me! + +MARION. + + Do you want a proof +Of love, my Didier? + +DIDIER. + + Yes! + +MARION. + + Then speak! + +DIDIER. + + You are-- +Quite free? + +MARION (_embarrassed_). + + Free? Yes! + +DIDIER. + + Then take me for a brother, +For a protector--be my wife? + +MARION (_aside_). + + His wife! +Ah, why am I not worthy? + +DIDIER. + + You consent? + +MARION. + +I--can-- + +DIDIER. + + Don't say it, please--I understand! +An orphan, without fortune! What a fool! +Give back my pain, my gloom, my solitude! +Farewell! + +[_He starts to go; Marion holds him back._ + +MARION. + + Didier, what are you saying? + [_She bursts into tears._ + +DIDIER. + + True! +But why this hesitation? [_Going back to her._ + Can't you feel +The ecstasy of being, each to each, a world, +A country, heaven; in some deserted spot +To hide a happiness kings could not buy. + +MARION. + +It would be heaven! + +DIDIER. + + Will you have it? Come! + +MARION. + +[_Aside._] Accursed woman! [_Aloud._] No, it cannot be. + +[_She tears herself from out his arms, and falls on the armchair._ + +DIDIER (_freezingly_). + +The offer was not generous, I know. +You've answered me. I'll speak of it no more! +Good-by! + +MARION. (_aside_). + +Alack, the day I pleased him! [_Aloud._] Stay! +I'll tell you. You have hurt me to the soul. +I will explain-- + +DIDIER (_coldly_). + + What were you reading, madame, +When I came? + +[_Takes the book from the table and reads._ + + "To Marion de Lorme. +Love's Garland!" Yes, the beauty of the day! + +[_Throwing the book violently to the floor._ + +Vile creature! a dishonor to her sex! + +MARION. (_trembling_). + +But--she-- + +DIDIER. + + What are you doing with such books? +How came they here? + +MARION. (_inaudibly, and looking down_). + + They came by chance. + +DIDIER. + + Do you-- +You who have eyes so pure, a brow so chaste-- +Do you know what she is--this woman? Well, +She's beautiful in body, and deformed +In soul! A Phryne, selling everywhere, +To every man, her love, which is an insult, +An infamy! + +MARION (_her head in her hands_). + + My God! + +[_A noise of footsteps, a clashing of swords outside, and cries._ + +VOICE IN THE STREET. + + Help! Murder! Help! + +DIDIER (_surprised_). + +What noise is that out there upon the square? + [_Cries continue._ + +VOICE IN THE STREET. + +Help! Murder! Help! + +DIDIER (_looking from the balcony_). + + They're killing some one! Ha! + +[_He takes his sword and step's over the balustrade. Marion rises, +runs to him and tries to hold him back by his cloak._ + +MARION. + +Don't, Didier, if you love me! They'll kill you! +Don't go! + +DIDIER (_jumping down into the street_). + + He is the one they're going to kill! +Poor man! [_Outside, to combatants._ + + Stand off! Hold firmly, sir, and push! + [_Clashing of swords._ +There, wretch! + +[_Noise of swords, voices, and footsteps._ + +MARION. (_on the balcony, terrified_). + + Just Heaven! They are six 'gainst two! + +VOICE IN THE STREET. + +This man--he is the devil! + +[_The clashing of swords subsides little by little, then entirely +ceases. The sounds of footsteps become indistinct. Didier reappears +scaling the balcony._ + +DIDIER (_outside of the balcony and turned toward +the street_). + + You are safe; +Now go your way! + +SAVERNY (_from outside_). + + Not 'til I've grasped your hand-- +Not 'til I've thanked you, if you please! + +DIDIER. + + Pass on! +I will consider myself thanked. + +SAVERNY. + + Not so! +I mean to thank you. [_Scaling balcony._ + +DIDIER. + + Can't you speak from there +And say "I thank you" without coming up? + + +SCENE III + +Marion, Didier, Saverny + +SAVERNY (_jumping into the room, sword in hand_). + +Upon my soul! 'Tis a strange chivalry +To save my life and push me from the door! +The door--that is to say, the window! No, +They shall not say one of my family +Was bravely rescued by a nobleman +And did not in return say "Marquis--" Pray, +What is your name? + +DIDIER. + + Didier. + +SAVERNY. + + Didier--of what? + +DIDIER. + +Didier, of nothing! People kill you, and +I help you--that is all! Now go! + +SAVERNY. + + Indeed! +That's your way, is it? Why not have let +Those traitors kill me? 'Twould have pleased me more. +For without you I'd be a dead man now. +Six thieves against me! Dead! Of course! What else? +Six daggers against one thin sword-- + +[_Perceiving Marion, who has been trying to avoid him._ + + Oh, ho! +You're not alone! At last I understand! +I'm robbing you of pleasure. Pardon me! +[_Aside._] I'd like to see the lady! + +[_Approaches Marion, who is trembling: he recognizes her._ + + It is you! + [_Indicating Didier._ +Then he's the one! + +MARION (_low_). + + Hush! You will ruin all! + +SAVERNY (_bowing_). + +Madame! + +MARION (_low_). + + I love for the first time! + +DIDIER (_aside_). + + 'Sdeath! +That man is looking at her with bold eyes. + +[_He overturns the lamp with a blow._ + +SAVERNY. + +You put the lamp out, sir? + +DIDIER. + + It would be wise +For us to leave together, and at once. + +SAVERNY. + +So be it, then! I follow you! + +[_To Marion, whom he salutes profoundly._ + + Madame, +Farewell! + +DIDIER (_aside_). + + What a rare coxcomb! +[_Aloud to Saverny._] Come, sir, come! + +SAVERNY. + +You're brusk, but I'm in debt to you for life. +If ever you should need fraternal friendship, +Count upon me, Marquis de Saverny, +Paris, Hôtel de Nesle. + +DIDIER. + + Enough, sir! Come! +[_Aside._] To see her thus examined by a fool! + +[_They go out by the balcony. The voice of Didier is heard outside._ + +Your road lies that way. Mine lies here! + + +SCENE IV + +Marion, Dame Rose + +MARION (_remains absorbed a moment, then calls_). + + Dame Rose! + +[_Dame Rose appears. Marion points to the window._ + +Go shut it! + +[_Dame Rose, having shut the window, turns and sees Marion wiping +away a tear._ + +DAME ROSE (_aside_). + + She is weeping! + [_Aloud._] It is time +To sleep, madame! + +MARION. + + Yes, time for you--you people. [_Undoing her hair._ +Come, help me to undress! + +DAME ROSE (_helping her to undress_). + + The gentleman +To-night was pleasant. Is he rich? + +MARION. + + Not rich. + +DAME ROSE. + +But gallant. + +MARION. + + No, nor gallant. [_Turning to Dame Rose._ + He did not +So much as kiss my hand! + +DAME ROSE. + + What use is he? + +MARION (_pensive_). + +I love him! + + + +[Illustration: MARION DE LORME.] + + + + +_ACT II_ + +THE ENCOUNTER + +Scene.--_Blois. The door of a public-house. A square. In the +background the city of Blois is visible in the form of an amphitheater, +also the towers of St. Nicholas upon the hill, which is covered with +houses_ + + +SCENE I + +Count de Gassé, Marquis de Brichanteau, Viscount de Bouchavannes, +Chevalier de Rochebaron. _They are seated at tables in front of the +door: some are smoking, the others are throwing dice and drinking. +Afterward Chevalier de Montpesat, Count de Villac; afterward +L'Angely; afterward The Town-Crier and The Populace_ + +BRICHANTEAU (_rising, to Gassé, who enters_). + + Gassé! [_They shake hands._ + You are come to join +The regiment at Blois: our compliments +Upon your burial. [_Examining his clothes._ + Ah! + +Gassé. + + It is the style-- +This orange with blue ribbons. + +[_Folding his arms and curling his mustache._ + + You must know +That Blois is forty miles from Paris! + +BRICHANTEAU. + + Yes, +It's China! + +GASSÉ. + + That makes womankind rebel: +To follow us they must exile themselves. + +BOUCHAVANNES (_turning from the game_). + +You come from Paris? + +ROCHEBARON (_taking out his pipe_). + + Is there any news? + +GASSÉ (_bowing_). + +No, nothing. Corneille still upsets all heads. +Guiche has obtained the order; Ast is duke. +Of trifles, plenty--thirty Huguenots +Were hung; a quantity of duels. On +The third, D'Angennes fought Arquien on account +Of wearing point of Genoa; the tenth, +Lavardie had a rendezvous with Pons, +Because he'd taken Sourdis' wife from him. +Sourdis and D'Ailly met about a creature +In the theater Mondori. On the ninth, +Lachâtre fought with Nogent because he wrote +Three rhymes of Colletet's badly; Margaillan +With Gorde, about the time of day; D'Humière +With Gondi on the way to walk in church; +And all the Brissacs 'gainst all the Soubises +For some bet on a horse against a dog. +Then Caussade and Latournelle fought for nothing-- +Merely for fun: Caussade killed Latournelle. + +BRICHANTEAU. + +Gay Paris! Duels have begun again. + +GASSÉ. + +It is the fashion! + +BRICHANTEAU. + + Feasts and love and fighting! +There is the only place to live! + [_Yawning._] All one +Can do here is to die of weariness. +[_To Gassé._] You say Caussade killed Latournelle? + +GASSÉ. + + He did, +With a good gash! [_Examining Rochebaron's sleeves._ + What's that you wear, my friend? +Those trimmings are not fashionable now. +What! cords and buttons? Nothing could be worse. +You must have bows and ribbons. + +BRICHANTEAU. + + Pray repeat +The list of duels. How about the King? +What does he say? + +GASSÉ. + + The Cardinal's enraged +And means to stop it. + +BOUCHAVANNES. + + Any news from camp? + +GASSÉ. + +I think we captured Figuère by surprise-- +Or else we lost it. + [_Reflecting._] Yes, that's it. 'Tis lost! +They took it from us. + +ROCHEBARON. + + Ah! What said the King? + +GASSÉ. + +The Cardinal is most dissatisfied. + +BRICHANTEAU. + +How is the Court? I hope the King is well. + +GASSÉ. + +Alas! the Cardinal has fever and +The gout, and goes out only in a litter. + +BRICHANTEAU. + +Queer! We talk King, you answer Cardinal! + +GASSÉ. + +It is the fashion! + +BOUCHAVANNES. + + So there's nothing new! + +GASSÉ. + +Did I say so? There's been a miracle, +A prodigy, which has amazed all Paris +For two months past; the flight, the disappearance-- + +BRICHANTEAU. + +Go on! Of whom? + +GASSÉ. + + Of Marion de Lorme, +The fairest of the fair! + +BRICHANTEAU (_with an air of mystery_). + + Here's news for you. +She's here! + +GASSÉ. + + At Blois? + +BRICHANTEAU. + + Incognito! + +GASSÉ. + + What! she? +In this place? Oh, you must be jesting, sir! +Fair Marion, who sets the fashions! Bah! +This Blois is the antipodes of Paris. +Observe! How ugly, old, ungainly, 'tis! +Even those towers-- + [_Indicating the towers of St. Nicholas._ + Uncouth and countrified! + +ROCHEBARON. + +That's true. + +BRICHANTEAU. + + Won't you believe Saverny when +He says he saw her, hidden somewhere with +A lover, and this lover saved his life +When thieves attacked him in the street at night?-- +Good thieves, who took his purse for charity, +And just desired his watch to know the time. + +GASSÉ. + +You tell me wonders! + +ROCHEBARON (_to Brichanteau_). + + Are you sure of it? + +BRICHANTEAU. + +As sure as that I have six silver bezants +Upon a field of azure. Saverny +Has no desire, at present, but to find +This man. + +BOUCHAVANNES. + + He ought to find him at her house. + +BRICHANTEAU. + +She's changed her name and lodging, and all trace +Of her is lost. + +[_Marion and Didier cross the back of the stage slowly without +being noticed by the talkers; they enter a small door in one of the +houses on the side._ + +GASSÉ. + + To have to come to Blois +To find our Marion, a provincial! + +[_Enter Count de Villac and Chevalier de Montpesat, disputing +loudly._ + +VILLAC. + + No! +I tell you no! + +MONTPESAT. + + And I--I tell you, yes! + +VILLAC. + +Corneille is bad! + +MONTPESAT. + + To treat Corneille like that-- +The author of "The Cid" and of "Melite." + +VILLAC. + +"Melite"? Well, I will grant you that is good; +But he degenerated after that, +As they all do. I'll do the best I can +To satisfy you: talk about "Melite," +"The Gallery of the Palace," but "The Cid!" +What is it, pray? + +GASSÉ (_to Montpesat_). + + You are conservative. + +MONTPESAT. + +"The Cid" is good! + +VILLAC. + + I tell you it is bad! +Your "Cid"--why Scudéry can crush it with +A touch! Look at the style! It deals with things +Extraordinary; has a vulgar tone; +Describes things plainly by their common names; +Besides, it is obscene, against the law! +"The Cid" has not the right to wed Chimène! +Now have you read Pyramus, Bradamante? +When Corneille writes such tragedies, I'll read! + +ROCHEBARON (_to Montpesat_). + +"The Great and Last Soliman" of Mairet, +You must read that: that is fine tragedy! +But for your "Cid." + +VILLAC. + + What self-conceit he has! +Does he not think he equals Boisrobert, +Mairet, Gombault, Serisay, Chapelain, +Bautru, Desmarets, Malleville, Faret, +Cherisy, Gomberville, Colletet, Giry, +Duryer--indeed, all the Academy? + +BRICHANTEAU (_laughing compassionately and shrugging his shoulders_). + +Good! + +VILLAC. + + Then the gentleman deigns to create! +Create! Faith! after Garnier, Theophile, +And Hardy! Oh, the coxcomb! To create! +An easy thing! As if the famous minds +Had left behind them any unused thing. +On that point Chapelain rebukes him well! + +ROCHEBARON. + +Corneille's a peasant! + +BOUCHAVANNES. + + Yet, Monsieur Godeau, +Bishop of Grasse, says he's a man of wit. + +MONTPESAT. + +Much wit! + +VILLAC. + + If he would write some other way-- +Would follow Aristotle and good style. + +GASSÉ. + +Come, gentlemen, make peace. One thing is sure, +Corneille is now the fashion: takes the place +Of Garnier, just as in our day felt hats +Have replaced velvet _mortiers_. + +MONTPESAT. + + For Corneille +I am, and for felt hats! + +GASSÉ (_to Montpesat_). + + You are too rash! +[_To Villac._] Garnier is very fine. I'm neutral; but +Corneille has also his good points. + +VILLAC. + + Agreed! + +ROCHEBARON. + +Agreed! He is a witty fellow and +I like him! + +BRICHANTEAU. + + He has no nobility! + +ROCHEBARON. + +A name so commonplace offends the ear. + +BOUCHAVANNES. + +A family of petty lawyers, who +Have gnawed at ducats 'til they obtained sous. + +[_L'Angely enters, seats himself at a table alone, and in silence. He +is dressed in black velvet with gold trimming._ + +VILLAC. + +Well, if the public like his rhapsodies +The day of tragic-comedy is past. +I swear to you the theater is doomed. +It is because this Richelieu-- + +GASSÉ (_looking across at L'Angely_). + + Say, _lordship_, +Or else speak lower. + +BRICHANTEAU. + + Hell take this eminence! +Is't not enough to manage everything? +To rule our soldiers, finances, and us, +Without controlling our poor language too? + +BOUCHAVANNES. + +Down with this Richelieu, who flatters, kills: +Man of the red hand and the scarlet robe! + +ROCHEBARON. + +Of what use is the King? + +BRICHANTEAU. + + In darkness, we-- +That is the people--march: eyes on a torch. +He is the torch: the King's the lantern which +In its bright glass protects the flame from wind. + +BOUCHAVANNES. + +Oh, could our swords blow such a wind some day +As to extinguish this devouring fire! + +ROCHEBARON. + +If every one had the same mind as I! + +BRICHANTEAU. + +We would unite-- +[_To Bouchavannes._] What do you think, Viscount? + +BOUCHAVANNES. + +We'd give him one perfidious, useful blow! + +L'ANGELY (_rising, with gloomy tone_). + +Conspiring! Young men! Think of Marillac! + +[_All shudder: turn away, and are silent with terror; all fix their eyes +on L'Angely, who silently resumes his seat._ + +VILLAC (_taking Montpesat aside_). + +My lord, when we were talking of Corneille, +You spoke in tones that irritated me. +In my turn I would like to say two words +To you-- + +MONTPESAT. + + With sword-- + +VILLAC. + + Yes. + +MONTPESAT. + + Or with pistol? + +VILLAC. + + Both! + +MONTPESAT (_taking his arm_). + +Let's go and find some corner in the town. + +L'ANGELY (_rising_). + +A duel, sirs? Remember Boutteville. + +[_New consternation among the young men. Villac and Montpesat +separate, keeping their eyes fixed on L'Angely._ + +ROCHEBARON. + +Who is this man in black who frightens us? + +L'ANGELY. + +I'm L'Angely. I'm jester to the King. + +BRICHANTEAU (_laughing_). + +Then it's no wonder that the King is sad. + +BOUCHAVANNES (_laughing_). + +Great fun he makes, this rabid cardinalist! + +L'ANGELY (_standing_). + +Be careful, gentlemen! This minister +Is mighty. A great mower, he! He makes +Great seas of blood, and then he covers them +With his red cloak and nothing more is said. [_Silence._ + +GASSÉ. + +Good faith! + +ROCHEBARON. + + I'm blessed if I shall stir! + +BRICHANTEAU. + + Beside +This jester Pluto was a funny man! + +[_A crowd of people enter from the streets and houses, and spread over +the Square. In the center appears The Town-Crier on horseback, with +four Town-servants in livery, one of whom blows the trumpet, while the +other beats the drum._ + +GASSÉ. + +What are these people doing? Ah, the crier! +Well, paternosters are in order now! + +BRICHANTEAU (_to a juggler with a monkey on his back, who has joined the +crowd_). + +Which one of you shows off the other, friend? + +MONTPESAT (_to Rochebaron_). + +I hope our packs of cards are still complete. + [_Indicating the four Servants in livery._ +It looks as though these knaves were stolen thence. + +TOWN-CRIER (_in a nasal tone of voice_). + +Peace, citizens! + +BRICHANTEAU (_low to Gassé_). + + He has a wicked look. +His voice wears out his nose more than his mouth! + +TOWN-CRIER. + +"Ordinance: Louis, by the Grace of God--" + +BOUCHAVANNES (_low to Brichanteau_). + +Cloak _fleur-de-lis_ concealing Richelieu! + +L'ANGELY. + +Attention! + +TOWN-CRIER (_continuing_). + + "King of France and of Navarre--" + +BRICHANTEAU (_low to Bouchavannes_). + +A fine name, which no minister e'er hoards. + +TOWN-CRIER (_continuing_). + +"Know all men by these presents, we greet you! + [_He salutes assembly._ +Having considered that all kings desired +And have tried to abolish dueling, +But yet, in spite of edicts signed by them, +The evil has increased in great degree, +We ordain and decree that from this time +All duelists who rob us of our subjects, +Whether but one of them or both survive, +Be brought for punishment unto our court, +And commoner or noble shall be hanged. +In order to give force to this edict +We here renounce our right of pardon for +This crime. It is our gracious pleasure."-- +Signed, Louis; and lower--Richelieu. + [_Indignation among the nobles._ + +BRICHANTEAU. + + What's this? +We are to hang up like Barabbas! + +BOUCHAVANNES. + + We? +Tell me the name of any place which holds +A rope by which to hang a nobleman! + +TOWN-CRIER (_continuing_). + +"We, provost, that all men may know these facts, +Command this edict to be hung up on +The Square." + +[_The two Servants attach a great placard to an iron gallows protruding +from the wall on the right._ + +GASSÉ. + + 'Tis the edict they ought to hang! +Well done! + +BOUCHAVANNES (_shaking his head_). + + Yes, Count; while waiting for the head +Which shall defy it. + +[_The Town-Crier exits; the crowd retires. Saverny enters. It begins +to grow dark._ + + +SCENE II + +_The same._ Marquis de Saverny + +BRICHANTEAU (_going to Saverny_). + + Cousin Saverny, +I hope you've found the man who rescued you. + +SAVERNY. + +No; I have searched the city through in vain. +The robbers, the young man, and Marion-- +They have all faded from me like a dream. + +BRICHANTEAU. + +You must have seen him when he brought you back, +Like a good Christian, from those infidels. + +SAVERNY. + +The first thing that he did was to throw down +The lamp. + +GASSÉ. + + That's strange! + +BRICHANTEAU. + + You'd recognize him if +You met him? + +SAVERNY. + + No; I didn't see his face. + +BRICHANTEAU. + +What is his name? + +SAVERNY. + + Didier. + +ROCHEBARON. + + That's no man's name! +That is a bourgeois name. + +SAVERNY. + + It doesn't matter. +Didier is this man's name. There are great men +Who have been conquerors and bear grand names, +But they've no greater hearts than this man had. +I had six robbers! He had Marion! +He left her, and saved me. My debt's immense! +This debt I mean to pay. I tell you all: +I'll pay it with the last drop of my blood! + +VILLAC. + +Since when do you pay debts? + +SAVERNY (_proudly_). + + I've always paid +Those debts which can be paid with blood. +Blood is the only change I carry, sir! + +[_It is quite dark; the windows in the city are lighted one by one; a +lamplighter enters and lights a street-lamp above the edict and goes +out. The little door through which Marion and Didier disappeared is +re-opened. Didier comes forth dreamily, walking slowly, his arms +folded._ + + +SCENE III + +_The same._ Didier + +DIDIER (_coming slowly from the back; no one sees or hears him_). + +Marquis de Saverny! I would like much +To see that fool who looked at her so hard. +I have him on my mind. + +BOUCHAVANNES (_to Saverny, who is talking with Brichanteau_). + + Saverny! + +DIDIER (_aside_). + + Ah, +That is my man! + +[_He advances slowly, his eyes fixed on the noblemen, and sits down at a +table placed under the street-lamp, which lights up the edict. +L'Angely, motionless and silent, is a few steps distant._ + +BOUCHAVANNES (_to Saverny, who turns around_). + + You know about the edict? + +SAVERNY. + +Which one? + +BOUCHAVANNES. + + Commanding us to give up duels. + +SAVERNY. + +It is most wise. + +BRICHANTEAU. + + Hanging's the penalty. + +SAVERNY. + +You must be jesting. Commoners are hanged, +Not nobles. + +BRICHANTEAU (_showing the placard_). + + Read it for yourself. It's there, +Upon the wall. + +SAVERNY (_perceiving Didier_). + + That sallow face can read +For me. + [_To Didier, elevating his voice._ + Ho! man there with the cloak! My friend! +Good fellow! +[_To Brichanteau._] Brichanteau, he must be deaf. + +DIDIER (_slowly lifting his head, without taking his eyes from him_). + +You spoke to me? + +SAVERNY. + + I did! In fair return, +Read that placard which hangs above your head. + +DIDIER. + +I? + +SAVERNY. + + You--if you can spell the alphabet. + +DIDIER (_rising_). + +It is the edict threatening duelists +With gallows, be they nobles or plebeians. + +SAVERNY. + +No, you mistake, my friend. You ought to know +A nobleman was never born to hang, +And in this world, where we claim all our rights, +Plebeians are the gallows' only prey. + [_To the noblemen._ +These commoners are rude. +[_To Didier, with malice._] You don't read well; +Perhaps you are near-sighted. Lift your hat, +'Twill give you more light. Take it off. + +DIDIER (_overthrowing the table which is in front of him_). + + Beware! +You have insulted me! I've read for you; +I claim my recompense! I'll have it, too! +I want your blood, I want your head, Marquis! + +SAVERNY (_smiling_). + +We must be fitted to our station, sir. +I judge him commoner, he scents marquis +In me. + +DIDIER. + + Marquis and commoner can fight. +What do you say to mixing up our blood? + +SAVERNY. + +You go too fast, and fighting is not all. +I am Gaspard, Marquis de Saverny. + +DIDIER. + +What does that matter? + +SAVERNY. + + Here my seconds are! +The Count de Gassé, noble family, +And Count de Villac, family La Teuillade, +From which house comes the Marquis d'Aubusson. +Are you of noble blood? + +DIDIER. + + What matters that? +I am a foundling left at a church door. +I have no name; but in its place, I've blood, +To give you in exchange for yours! + +SAVERNY. + + That, sir, +Is not enough; but as a foundling, you +May claim the right, because you might be noble. +It is a better thing to lift a vassal +Than to degrade a peer. You may command me! +Choose your hour, sir. + +DIDIER. + + Immediately! + +SAVERNY. + + Agreed! +You're no usurper, that is clear. + +DIDIER. + + A sword! + +SAVERNY. + +You have no sword? The devil! that is bad. +You might be thought a man of low descent. +Will you have mine? + [_Offers his sword to Didier._ + Well tempered and obedient! + +[_L'ANGELY rises, draws his sword and presents it to Didier._ + +L'ANGLEY. + +No; for a foolish deed, you'd better take +A fool's sword! You are brave! You'll honor it! +[_Maliciously._] And in return, to bring me luck, pray let +Me cut a piece from off the hanging-rope! + +DIDIER (_bitterly, taking sword_). + +I will. + [_To The Marquis._ + Now God have mercy on the good! + +BRICHANTEAU (_jumping with delight_). + +A duel--excellent! + +SAVERNY (_to Didier)._ + + Where shall we fight? + +DIDIER. + +Beneath the street-lamp. + +GASSÉ. + + Gentlemen, you're mad! +You cannot see. You'll put your eyes out. + +DIDIER. + + Humph! +There's light enough to cut each other's throat. + +SAVERNY. + +Well said! + +VILLAC. + + You can see nothing. + +DIDIER. + + That's enough! +Each sword is lightning flashing in the dark. +Come, Marquis! + +[_Both throw off their cloaks, take off their hats with which they +salute each other, throwing them afterward on the ground. Then they draw +their swords._ + +SAVERNY. + + At your service, sir. + +DIDIER. + + Now! _Garde!_ + +[_They cross swords and fence, silently and furiously. Suddenly the +small door opens, Marion in a white dress appears._ + + +SCENE IV + +_The same._ Marion + +MARION. + +What is this noise? + [_Perceiving Didier under the lamp._ + Didier! + [_To the combatants._] Stop! + [_They continue._] Ho! The guard! + +SAVERNY. + +Who is this woman? + +DIDIER (_turning_). + + Heaven! + +BOUCHAVANNES (_running, to Saverny_). + + All is lost! +That woman's cry went through the town. +I saw the archers' rapiers flash. + [_The Archers with torches enter._ + +BRICHANTEAU (_to Saverny_). + + Seem dead, +Or you will be so! + +SAVERNY (_falling down_). + + Ah! + +[_Low to Brichanteau, who bends over him._ + + Oh, damn these stones. + +[_Didier, who thinks he has killed him, pauses._ + +CAPTAIN OF THE DISTRICT. + +Hold! In the King's name! + +BRICHANTEAU (_to the noblemen_). + + We must save the Marquis. +He's a dead man if he is caught. + [_The noblemen surround Saverny._ + +CAPTAIN OF THE DISTRICT. + + Zounds, sirs! +To fight a duel 'neath the very light +Of the edict is bold indeed! + [_To Didier._] Give up +Your sword. + +[_The Archers seize Didier, who stands apart, and disarm him. The +Captain indicates Saverny stretched upon the ground and surrounded by +the noblemen._ + + That other man with dull eyes, who +Is he? What is his name? + +BRICHANTEAU. + + His name's Gaspard, +Marquis de Saverny, and he is dead. + +CAPTAIN OF THE DISTRICT. + +Dead, is he? Then his trouble's over. Good! +This dead man's worth more than the other. + +MARION (_frightened_). + + What! + +CAPTAIN OF THE DISTRICT (_to Didier_). + +The whole affair rests now with you, sir. Come! + +[_The Archers lead Didier off on one side, the noblemen carry +Saverny off on the other._ + +DIDIER (_to Marion, who is motionless from horror_). + +Forget me, Marion. Good-by! [_They exit._ + + +SCENE V + +Marion, L'Angely + +MARION (_rushing to detain him_). + + Didier! +What do you mean? Good-by? Why this good-by? +Wherefore forget you? + +[_The Soldiers push her off; she approaches L'Angely with anguish._ + + Is he lost for this? +What did he do? What will they do to him? + +L'ANGELY (_takes her hand and leads her in silence before the edict_). + +Read this! + +MARION (_reads, and starts back with horror_). + + My God! Just God! Condemned to death! +They've taken him away. To kill him! Oh, +I brought this ruin on him with my cries! +I called for help, but my unhappy voice +Found death in the dark streets and brought her here. +Impossible! A duel is no crime! [_To L'Angely._ +They'll not kill him for that? + +L'ANGELY. + + I think they will. + +MARION. + +He can escape! + +L'ANGELY. + + The prison walls are high! + +MARION. + +I've brought this crime upon him with my sins. +God strikes him for my sake! My Didier! love! +[_To L'Angely._] Nothing on earth seemed good enough for him! +A prison cell--my God! Death! Torture too! + +L'ANGELY. + +Perhaps! It all depends-- + +MARION. + + I'll find the King! +He has a royal heart; he pardons. + +L'ANGELY. + + Yes, +The King does, not the Cardinal. + +MARION. + + Then, what-- +What can I do? + +L'ANGELY. + + A capital offense, +Nothing can save him from the fatal rope. + +MARION. + +Oh, grief! +[_To L'Angely._] You freeze my blood, sir. Who are you? + +L'ANGELY. + +I'm the King's jester! + +MARION. + + Oh, my Didier, love, +I'm lost, unworthy; but what God can do +With a weak woman's hands, I'll show to you. +Go on, my love; I follow! + +[_She goes out on the side from which Didier left._ + +L'ANGELY (_alone_). + + God knows where! + +[_Picking up the sword which Didier left on the ground._ + +Among all these, who'd think I was the fool? [_He goes out._ + + + + +_ACT III_ + +THE COMEDY + +Scene.--_The Castle of Nangis. A park in the style of Henry IV. In the +background on an elevation, the Castle of Nangis, part new, part old, is +visible. The old, a castle-keep with arches and turrets: the new, a +large brick house with corners of wrought stone, and pointed roof. The +large door of the castle-keep is hung with black: from afar one +distinguishes a coat-of-arms--that of the families of Nangis and of +Saverny_ + + +SCENE I + +_M. DE LAFFEMAS, undress costume of a magistrate of the period. +Marquis de Saverny, disguised as an officer of the Regiment of Anjou; +with black mustache and imperial, and a plaster on the eye_ + +LAFFEMAS. + +Then you were present, sir, at the attack? + +SAVERNY (_pulling his mustache_). + +I was his comrade: had that honor, sir! +But he is dead! + +LAFFEMAS. + + The Marquis de Saverny? + +SAVERNY. + +Yes, from a thrust in tierce, which burst the doublet, +Then carved its cruel way between the ribs +Through to the chest and to the liver, which, +As you well know, makes blood. The wound was fearful. +'Twas horrible to see! + +LAFFEMAS. + + He died at once? + +SAVERNY. + +Almost. His agony was short. I watched +The spasm follow frenzy; tetanos +Then came, and after opisthotonos +There followed improstathonos. + +LAFFEMAS. + + The deuce! + +SAVERNY. + +So that I calculate 'tis false to say +The blood passes the jugular. Pequet +And learned men should be condemned when they +Dissect live dogs to study 'bout the lungs. + +LAFFEMAS. + +The poor marquis is dead. + +SAVERNY. + + A thrust is fatal. + +LAFFEMAS. + +You are a doctor, sir, of medicine? + +SAVERNY. + +No. + +LAFFEMAS. + + You have studied it? + +SAVERNY. + + Somewhat. +In Aristotle. + +LAFFEMAS. + + You can talk it well! + +SAVERNY. + +Faith! I've a most malicious sort of heart. +I like destruction; find delight in evil; +I love to kill! So that I thought I'd be +A soldier or a doctor, sir, at twenty. +But I hesitated long, and finally +I chose the sword. It's not so sure, but twice +As quick. There was a time, I will confess, +I longed to be a poet or an actor, +Or an exhibitor of bears--but then, +I like dinner and supper every day. +A plague upon the poetry and bears! + +LAFFEMAS. + +With this hope in your mind you studied verse? + +SAVERNY. + +A little bit, in Aristotle. Yes-- + +LAFFEMAS. + +The Marquis knew you? + +SAVERNY. + + He knew me as well +As a lieutenant knows an upstart soldier. +I belonged to Monsieur de Caussade first, +Who gave me to the Marquis' colonel. Poor +The present, but we do the best we can! +They made me officer--I'm worth as much +As any, and I wear a black mustache. +That is my history. + +LAFFEMAS. + + They sent you here +To notify the uncle? + +SAVERNY. + + Yes; I came +With Brichanteau, the cousin, and the corpse. +He will be buried here--where, if he'd lived, +He would have had his wedding! + +LAFFEMAS. + + Tell me how +The old Marquis de Nangis bore the news. + +SAVERNY. + +With calmness, without tears. + +LAFFEMAS. + + He loved him though? + +SAVERNY. + +As much as we love life. Having no children +Of his own he had but this one passion-- +His nephew, whom he dearly loved, although +They had not seen each other for five years. + +[_In the background, the old Marquis de Nangis passes; white hair, +pale countenance, arms folded across his breast, dress of the day of +Henry IV.: deep mourning; the star and the ribbon of the order of the +Holy Ghost. He walks slowly; nine guards in three rows follow; they are +dressed in mourning, their halberds on their right shoulder, their +muskets on their left; they keep within a short distance, stopping when +he stops, and continuing when he continues._ + +LAFFEMAS (_watching him pass_). + +Poor man! + +[_He goes to the back and follows The Marquis with his eyes._ + +SAVERNY (_aside_). + + My good old uncle! + +[_Brichanteau enters and goes to Saverny._ + + +SCENE II + +_The same._ Brichanteau + +BRICHANTEAU. + + Ah! two words! +[_Laughing._] He's looking pretty well for a dead man! + +SAVERNY (_low, indicating The Marquis, who passes_). + +Why do you make me grieve him, Brichanteau? +I think we might explain it to him now. +Oh, let me try. + +BRICHANTEAU. + + No; God forbid, my friend! +His grief must be sincere; he must weep much. +His woe is one good half of your disguise. + +SAVERNY. + +Poor uncle! + +BRICHANTEAU. + + He will find it out ere long. + +SAVERNY. + +If sorrow has not killed him, then joy will. +These shocks are dangerous to such old men. + +BRICHANTEAU. + +It must be done! + +SAVERNY. + + I cannot bear to hear +Him laugh so bitterly, then weep; then keep +So still! I hate to see him kiss that coffin. + +BRICHANTEAU. + +Yes--a fine coffin with no corpse in it! + +SAVERNY. + +But I am dead and bleeding in his heart. +The corpse lies there. + +LAFFEMAS (_coming back_). + + Alas, the poor old man! +His eyes show plainly how he's suffering! + +BRICHANTEAU (_low to Saverny_). + +Who is that surly-looking man in black? + +SAVERNY (_with gesture of ignorance_). + +Some friend who's living at the castle? + +BRICHANTEAU (_low_). + + Crows +Are also black and love the smell of death. +Keep silence more than ever. 'Tis a face +That's treacherous and evil; it would make +A madman prudent. + +[_The Marquis de Nangis re-enters; he is still absorbed in a deep +reverie. He walks slowly, does not appear to notice any one, and seats +himself upon a bank of turf._ + + +SCENE III + +_The same._ Marquis de Nangis + +LAFFEMAS (_approaching The Marquis_). + + Marquis, we've lost much. +He was a rare man; would have comforted +Your old age. I mingle my tears with yours. +Young, handsome, good, naught more could be desired; +Obeying God, respecting women, strong; +Just in his actions, sensible in speech, +A perfect nobleman, whom all revere! +To die so young! Most cruel fate! Alas! + +[_The Marquis lets his head fall on his hands._ + +SAVERNY (_low to Brichanteau_). + +The devil take this funeral discourse! +These praises but augment the old man's grief. +Console him, you; Show him the other side. + +BRICHANTEAU (_to Laffemas_). + +You are mistaken, sir. I was in the +Same grade. A bad comrade, this Saverny-- +A shiftless fellow, growing worse each day. +Courageous! Every man is brave at twenty; +His death is nothing much to boast about. + +LAFFEMAS. + +A duel! Surely, that is no great crime. + +[_Banteringly to Brichanteau, pointing to his sword._ + +You are an officer? + +BRICHANTEAU (_in the same tone, pointing to Laffemas's wig_). + + A magistrate? + +SAVERNY (_low_). + +Go on! + +BRICHANTEAU. + + He was capricious, thankless, and +A liar: not worth any real regret. +He went to church, but just to ogle girls. +He was a gallant, a mere libertine, +A fool! + +SAVERNY (_low_). + + Good! good! + +BRICHANTEAU. + + Intractable and stubborn; +Rude to his officers. As to good looks, +He had lost his; he limped, had a large wen +Upon his eye; from blonde had turned to red, +And from round-shouldered had become hump-backed. + +SAVERNY (_low_). + +Enough! + +BRICHANTEAU. + + He gambled--every one knows that. +He would have staked his soul on dice. I'll wager +That cards had eaten up his property. +His fortune galloped faster every night. + +SAVERNY (_low, pulling his sleeve_). + +Enough! Good God! Your consolation is +Too strong. + +LAFFEMAS. + + To speak so ill of a dead friend! +Unpardonable! + +BRICHANTEAU (_indicating Saverny_). + + Ask this gentleman! + +SAVERNY. + +Oh, no; I beg to be excused! + +LAFFEMAS (_affectionately, to the old Marquis_). + + My lord, +We'll comfort you. We have his murderer, +And we will hang him. We have kept him safe. +His end is sure. + [_To Brichanteau and Saverny._ + But can one understand +The Marquis? There are duels, we all know, +That cannot be avoided, but to fight +With any one named Didier-- + +SAVERNY (_aside_). + + What? Didier? + +[_The old Marquis, who has remained silent and motionless during all +this scene, rises and goes out slowly on the side opposite where he came +in. His guards follow him._ + +LAFFEMAS (_wiping away a tear and following him with his eyes_). + +In truth, his sorrow deeply touches me. + +LACKEY (_running_). + +My lord! + +BRICHANTEAU. + + Why can't you leave your master quiet? + +LACKEY. + +It is the burial of the young marquis! +What is the hour? + +BRICHANTEAU. + + You'll know it by-and-by. + +LACKEY. + +A few comedians have arrived here from +The city; they beg shelter for the night. + +BRICHANTEAU. + +The time's ill-chosen for comedians, but +The law of hospitality holds good. +Give them this barn. + [_Indicating a barn on the left._ + +LACKEY (_holding a letter_). + + A letter! 'Tis important! +[_Reading._] For a Monsieur de Laffemas. + +LAFFEMAS. + + 'Tis I! +Give it to me! + +BRICHANTEAU (_low to Saverny, who has remained thoughtful in a +corner_). + + Saverny, let us go! +Come and arrange things for your funeral! + [_Pulling him by the sleeve._ +What is it? Are you dreaming? + +SAVERNY (_aside_). + + Oh, Didier! [_They go out._ + + +SCENE IV + +LAFFEMAS (_alone_). + +The seal of State! The great seal of red wax! +Come! this is business. Let me know at once! +[_Reading._] "Sir Criminal Lieutenant: We make known +To you that Didier, the assassin of +The late Marquis Gaspard, has fled." My God! +That is unfortunate! "A woman is +With him, called Marion de Lorme. We beg +You to return as soon as possible." +Quick! Get me horses! I, who felt so sure! +Another matter spoiled for want of sense. +Outrageous! Of the two, not one! One, dead! +Escaped, the other! I will catch him, though! + +[_He exits. Enter a troupe of strolling actors, men, women and children +in character costumes. Among them are Marion and Didier, dressed as +Spaniards. Didier wears a great felt hat and is covered with a cloak._ + + +SCENE V + +_The Comedians_, Marion, Didier + +A LACKEY (_conducting the Comedians to the barn_). + +This is your lodging. You're on the estate +Of the Marquis de Nangis. Behave well, +Try to be quiet, for some one is dead. +The burial is to-morrow. Above all, +Don't mix your songs with the funereal chants +Which will be sung for him throughout the night. + +GRACIEUX (_small and hump-backed_). + +We'll make less noise than do your hunting-dogs +Who bark around the legs of all who pass! + +LACKEY. + +Dogs are not actors, my good friend. + +TAILLEBRAS (_to Gracieux_). + + Be still! +You'll cause us to sleep in the open air! + [_Lackey exits._ + +SCARAMOUCHE (_to Marion and Didier, who until now have remained +quietly apart_). + +Come! let us talk. Now you belong to us. +Why Monsieur fled with Madame on behind, +If you are man and wife or lovers only, +Escaping justice, or black sorcerers +Who held Madame a prisoner, perhaps-- +Is not my business. What I want to know +Is what you'll act. Chimènes are best for you, +Black eyes. + [_Marion makes a courtesy._ + +DIDIER (_aside, indignant_). + + To hear that mountebank speak thus! + +SCARAMOUCHE (_to Didier_). + +For you: if you should want a splendid part, +We need a bully--a long-leggèd man, +Tremendous strides, a thundering voice; and when +Orgon is robbed of wife or niece, you kill +The Moor and terminate the piece. Great part! +High tragedy! 'Twill suit you splendidly. + +DIDIER. + +Just as you please! + +SCARAMOUCHE. + + Good! Don't say "you" to me! +I like "thou"! [_With a profound obeisance._ + Blusterer, hail! + +DIDIER (_aside_). + + What fools! + +SCARAMOUCHE (_to the other actors_). + + Now eat; +Then we'll rehearse our parts. + +[_All enter the barn except Marion and Didier._ + + +SCENE VI + +_Marion, Didier; afterward Gracieux, Saverny, +afterward Laffemas_ + +DIDIER (_with bitter laugh, after a long silence_). + + Is't bad enough? +My Marion, have I dragged you low enough? +You wished to follow me? My destiny +Precipitates itself and crushes you, +Bound to its wheel! What are we come to now? +I told you so! + +MARION (_trembling and clasping her hands_). + + Do you reproach me, love? + +DIDIER. + +Oh, may I be accursed! Cursed first by Heaven, +Then cursed 'mongst men: cursed throughout all my life; +Cursed more than we are now, if a reproach +Shall ever leave my lips for you! What matter +Though all the earth abandon me, you're mine! +You are my savior, refuge, all my hope! +Who duped the jailer, filed my chains for me? +Who came from heaven to follow me to hell? +Who was a captive with the prisoner, +An exile with the fugitive? Ah, who, +Who else had heart so full of love and wit, +Heart to sustain, console, deliver me? +Great, feeble woman, have you not saved me +From destiny, alas! and my own soul? +Had you not pity on my nature, crushed? +Have you not loved one whom all others hate? + +MARION (_weeping_). + +It is my joy to love you--be your slave. + +DIDIER. + +Leave me your eyes, dear; they enrapture me! +God willed, when placing soul within my flesh, +A demon and an angel should guide me. +Yet he was merciful; his love concealed +The demon, but the angel he revealed. + +MARION. + +You are my Didier, master, lord of me! + +DIDIER. + +Your husband, am I not? + +MARION (_aside_). + + Alas! + +DIDIER. + + What joy, +When we have left this country far behind, +To have you, call you wife as well as love! +You will be willing?--answer. + +MARION. + + I will be +Your sister, and my brother you shall be! + +DIDIER. + +Oh, no! Refuse me not that ecstasy +Of knowing, in God's sight, you're mine alone! +You're safe to trust my love in everything. +The lover keeps you for the husband, pure! + +MARION (_aside_). + +Alas! + +DIDIER. + + If you knew how things torture me! +To hear that actor talk, affront you thus! +It is not least among our wretched woes +To see you mixed with jugglers such as these, +A chaste, exquisite flower 'mid this filth-- +You, 'mongst these women steeped in infamy! + +MARION. + +Be prudent, Didier! + +DIDIER. + + God! I struggled hard +Against my anger! He said "thou" to you, +When I, your love, your husband, hardly dare +For fear of tarnishing that virgin brow-- + +MARION. + +Be pleasant with them; it means life to you, +And me as well. + +DIDIER. + + She's right. She's always right. +Although each hour brings us increasing woe, +You lavish on me love and joy and youth! +How happens it these blessings come to me, +When royal kingdoms were small pay for them-- +To me, who give but anguish in return? +Heaven gave you--yes; but hell binds you to me. +For us to merit this unequal fate, +What good can I have done? What evil you? + +MARION. + +My only blessings come from you, my love! + +DIDIER. + +If you say that you think it, but it's wrong! +Oh, yes, my star of destiny is bad. +I know not whence I come, nor where I go. +My whole horizon's dark. Love, hark to me! +There's time yet; you can leave me and go back. +Let me pursue the gloomy route alone. +When all is ended and I'm tired out, +The couch that's waiting will be cold--ice-cold, +And narrow; there's not room enough for two. +Go back! + +MARION. + + That couch, dark, and mysterious, +I'll share it with you; that at least is mine. + +DIDIER. + +Will you not listen? Can't you understand? +You're tempting Providence to cling to me! +The years of anguish, love, may be so long +Your sweet eyes may grow sightless, just from tears. + +[_Marion lets her head fall on her hands._ + +DIDIER. + +I swear I draw the picture none too strong. +Your future frightens me. I pity you! +Go back! + +MARION (_bursting into tears_). + + It were more kind to kill me, Didier, +Than to talk thus! [_Weeping._] O God! + +DIDIER (_taking her in his arms_). + + My darling, hush! +So many tears! I'd shed my blood for one. +Do what you will! Come, be my destiny, +My glory, life, my virtue, and my love! +Answer me now. I speak! Sweet, do you hear? + +[_He seats her on a bank of turf._ + +MARION (_withdrawing herself from his arms_). + +You've hurt me! + +DIDIER (_kneeling to her_). + + I, who'd gladly die for her! + +MARION (_smiling through her tears_). + +You made me cry, you cruel man! + +DIDIER. + + My beauty! + +[_Sits on the bank beside her._ + +Just one sweet kiss upon your forehead, pure +As is our love! + +[_He kisses her forehead. They look at each other with ecstasy._ + + Yes, look at me! Look thus, +Look harder; look until we die of looking! + +GRACIEUX (_entering_). + +Dona Chimène is wanted in the barn. + +[_Marion rises hastily from Didier's side. At the same time that +Gracieux enters, Saverny comes in; he stands in the background and +looks attentively at Marion without seeing Didier, who remains +sitting on the bank and is hidden by a bush._ + +SAVERNY (_back, without being seen, aside_). + +Faith, it is Marion! What brings her here? +[_Laughing._] Chimène! + +GRACIEUX (_to Didier, who is about to follow Marion_). + + Oh, no! stay there, my jealous friend, +I want to tease you! + +DIDIER. + + Devil take you! + +MARION (_low to Didier_). + + Hush! +Restrain yourself. + +[_Didier re-seats himself; she enters the barn._ + +SAVERNY (_still back, aside_). + +What makes her roam the country in this fashion? +Can he be the gallant who succored me? +Who saved my life? Didier! It is indeed! + +LAFFEMAS (_enters in traveling costume, and salutes Saverny_). + +I take my leave, sir! + +SAVERNY (_bowing_). + + You are going away? [_He laughs._ + +LAFFEMAS. + +What makes you laugh? + +SAVERNY. + A very silly thing. +I'll tell you. Guess whom I have recognized +Among those jugglers who have just arrived. + +LAFFEMAS. + +Among those jugglers? + +SAVERNY (_laughing still more_). + + Yes. Marion de Lorme! + +LAFFEMAS (_with a start_). + +Marion de Lorme! + +DIDIER (_who has been looking at them fixedly all the time_). + + Hein? [_He half rises from the bank._ + +SAVERNY (_still laughing_). + + I would like to send +That news to Paris. Are you going there? + +LAFFEMAS. + +I am, and I will spread the news, trust me! +But are you sure you recognize her? + +SAVERNY. + + Sure? +Hurrah for France! We know our Marion. + [_Feeling in his pocket._ +I think I have her portrait--tender pledge +Of love! She had it done by the King's painter. + [_Giving Laffemas a locket._ +Look and compare them. + [_Indicating the barn door._ + See her, through that door, +In Spanish costume, with green petticoat. + +LAFFEMAS (_looking from the locket to the barn_). + +'Tis she--Marion de Lorme! [_Aside._] I have him now! + +[_To Saverny._] She must have a companion 'mongst these men. + +SAVERNY. + +It's likely. Such fair ladies are not prudes, +And seldom travel round the world alone. + +LAFFEMAS (_aside_). + +I'll guard this door. It will go hard, indeed, +If I can't capture that false actor here. +He's taken now--no doubt of that! [_Goes out._ + +SAVERNY (_watches the exit of Laffemas: aside_). + + I think +I've done a foolish thing. + +[_Taking Gracieux aside, who all this time has stood in a corner +gesticulating and running over his lines: in a whisper._ + + Who is that lady +Sitting within the shadow there? + +[_Indicating the door of the barn._ + +GRACIEUX. + + Chimène? +[_Solemnly._] My lord, I do not know her name. Ask him, +This lord, her noble friend. + +[_Exits on the side of the park._ + + +SCENE VII + +Didier, Saverny + +SAVERNY (_turning toward Didier_). + + This gentleman? +Tell me-- 'Tis strange how hard he looks at me! +Upon my soul, 'tis he! My man! [_Loud to Didier._] If you +Were not in prison, I should say that you +Resemble a-- + +DIDIER. + + And if you were not dead, I'd say +That you had the exact appearance of-- +His blood be on his head!--a man whom two +Short words of mine put in a tomb. + +SAVERNY. + + Hush! You +Are Didier! + +DIDIER. + + Marquis Gaspard, you! + +SAVERNY. + + 'Twas you +Who were somewhere, a certain night! 'Tis you +To whom I owe my life! + +[_He opens his arms. Didier draws back._ + +DIDIER. + + Excuse surprise! +I felt so sure I took it back. + +SAVERNY. + + Not so! +You saved me--did not kill me! Let me know +What I can do for you. Do you desire +A second--brother--a lieutenant? Speak! +What will you have--my blood, my wealth, my soul? + +DIDIER. + +Not any of those things. That portrait there! + +[_Saverny gives him the portrait; he looks at it, speaking with +bitterness._ + +Yes, there's her brow, her black eyes, her white neck; +Above all, there's her candid glance! How like! + +SAVERNY. + +You think so? + +DIDIER. + + This was made for you, you say? + +SAVERNY (_bowing, and making an affirmative sign_). + +It was! But now 'tis you whom she prefers, +You whom she loves and chooses 'mongst us all. +You are a happy man. + +DIDIER (_with loud and mocking laugh_). + + Yes! Am I not? + +SAVERNY. + +Accept my compliments; she's a good girl, +And loves no one but men of family. +Of such a mistress one can well be proud! +It's honorable, and it gives one style. +'Tis in good taste. If men ask who you are +They say, "Beloved of Marion de Lorme." + +[_Didier gives him back the portrait; he refuses it._ + +No, keep the portrait; since the lady's yours, +It should belong to you. Keep it, I pray. + +DIDIER. + +I thank you! [_Puts it in his breast._ + +SAVERNY. + + She is charming in that dress. +So you are my successor! One might say, +As King Louis succeeded Pharamond. +The Brissacs, both of them, supplanted me. +[_Laughing._] Then, yes, the Cardinal himself came next, +Then little D'Effiat, then the three Sainte-Mesmes, +The four Argenteans! In her heart you'll find +The best society. [_Laughing._] A little numerous. + +DIDIER (_aside_). + +My God! + +SAVERNY. + + Tell me about it some time. Now, +To be quite frank with you, I pass for dead, +And in the morning shall be buried. You +Must have escaped police and seneschals. +Your Marion can manage everything! +You joined a strolling company by chance; +What a delightful history! + +DIDIER. + + Yes, true +It is a history! + +SAVERNY. + + To get you out +She probably made love to all the jailers. + +DIDIER (_in a voice of thunder_). + +Do you think that? + +SAVERNY. + + You are not jealous--what? +Oh, joke incredible!--of Marion! +A man jealous of Marion! The poor child! +Don't go and scold her! + +DIDIER. + + Have no fear. [_Aside._] The angel-- +It was a demon! Oh, my God! + +[_Enter Laffemas and Gracieux. Didier goes out; Saverny follows +him._ + + +SCENE VIII + +Laffemas, Gracieux + +GRACIEUX (_to Laffemas_). + + My lord, +I do not understand you! + [_Aside._] Humph! A costume +Of Alcaid and a figure of police; +Small eyes, adorned with big eyebrows! I think +He plays the part of Alguazil in this +Locality. + +LAFFEMAS (_pulling out his purse_). + + My friend! + +GRACIEUX (_drawing near, low to Laffemas_). + + My lord--I see! +Chimène has interested you. You wish +To know-- + +LAFFEMAS (_low, smiling_). + + Who is her Roderick? + +GRACIEUX. + + You mean +Her lover? + +LAFFEMAS. + + Yes! + +GRACIEUX. + + Who groans beneath her spell? + +LAFFEMAS (_impatiently_). + +There's one? + +GRACIEUX. + + Of course! + +LAFFEMAS (_approaching him eagerly_). + + Then show him to me, quick! + +GRACIEUX (_with profound obeisance_). + +It's I, my lord. I'm mad about her! + +LAFFEMAS. + + You! + +[_Laffemas, disappointed, turns away with annoyance; then he comes +back and shakes his purse in Gracieux's eyes and ears._ + +Know you the sound of ducats? + +GRACIEUX. + + Heavenly tones! + +LAFFEMAS (_aside_). + +I've got my Didier! + [_To Gracieux._] Do you see this purse? + +GRACIEUX. + +How much! + +LAFFEMAS. + + Gold ducats--twenty! + +GRACIEUX. + + Humph! + +LAFFEMAS (_jingling the gold in his face_). + + Will you? + +GRACIEUX (_grabbing the purse from him_). + +Most certainly! + +[_With theatrical tone to Laffemas, who listens anxiously._ + + My lord, if your back bore +Just in the center a great hump, as big +As is your belly, and if those two bags +Were filled with louis, sequins, and doubloons, +In that case-- + +LAFFEMAS (_eagerly_). + + Well, what would you do? + +GRACIEUX (_putting the purse into his pocket_). + + I'd take +The whole of it, and I would say-- + [_With profound obeisance._ + I thank you; +You are a gentleman! + +LAFFEMAS (_aside, furious_). + + Plague on the monkey! + +GRACIEUX (_aside, laughing_). + +The devil take the cat! + +LAFFEMAS (_aside_). + + They have agreed +On what to do, if any one suspects. +'Tis a conspiracy. They'll all be dumb; +Accursed gypsy devils! + +[_To Gracieux who is going away._ + + Give me back +My purse! + +GRACIEUX (_turning around, with tragic tone_). + + What do you take me for, my lord? +What will the world think of us, pray, if you +Propose and I agree to anything +So infamous as sell for gold a life, +My soul? [_Turns to go._ + +LAFFEMAS. + + That's as you please; but give me back +My money! + +GRACIEUX. + + No, I keep my honor, sir, +And we have no accounts to settle. + +[_He salutes him and re-enters barn._ + + +SCENE IX + +LAFFEMAS (_alone_). + + Humph! +The wretched juggler! Pride in such base souls! +If you some day should fall into my hands +Unoccupied with better sort of game-- +But this will not find Didier! Now, I can't +Take all this crowd and put them to the torture. +This is worse work than hunting needles in +A haystack. Faith! a chemist's crucible +Bewitched I ought to have, which, eating up +The lead and copper, would reveal at last +The golden ingot hid by much alloy. +Go to the Cardinal without my prize? + [_Striking his brow._ +That's it! The clever thought! Oh, joy! He's mine! + [_Calling through the barn door._ +Ho, gentlemen, comedians! one word, please. + +[_The actors crowd out of the barn._ + + +SCENE X + +_The same. Comedians, among them Marion and Didier; afterward +Saverny, afterward Marquis de Nangis_ + +SCARAMOUCHE (_to Laffemas_). + +What do you want with us? + +LAFFEMAS. + + Without preamble: +My lord the Cardinal commissioned me +To find good actors, if there may be such +Within the provinces, to act the plays +Which he constructs in hours of leisure when +Allowed by State affairs. In spite of care +And earnest thought, his theater declines, +And is no credit to a cardinal-duke. + +[_All the actors press eagerly forward. Saverny enters, and watches +the scene with curiosity._ + +GRACIEUX (_aside, counting his money_). + +Twelve only! He said twenty. The old scamp! +He's robbed me! + +LAFFEMAS. + + Let each one repeat some scene, +That I may know your talents and may choose. +[_Aside._] If he gets out of that, this Didier's sharp. +[_Aloud._] Are you all here? + +[_Marion stealthily approaches Didier and tries to lead him off._ + +GRACIEUX (_going up to them_). + + Come with the others--you! + +MARION. + +Oh, heaven! + +[_Didier leaves her and joins the actors; she follows him._ + +GRACIEUX. + You're in luck to be with us. +To have new clothes, get every day a feast, +To speak the Cardinal's verses every night, +A happy lot! + +[_All the actors take their places before Laffemas. Marion and +Didier among them. Didier does not look at Marion; his eyes are +bent on the ground; his arms are folded underneath his cloak. Marion +watches him anxiously._ + +GRACIEUX (_at head of troupe, aside_). + + Who would have thought this crow +Recruited actors for the Cardinal? + +LAFFEMAS (_to Gracieux_). + +First you. What do you play? + +GRACIEUX (_with a low bow and a pirouette which shows off his hump_). + + I'm called the Sylph +Among the troupe. This piece I know the best. + [_He sings._ + + "On the bald heads of magistrates, + Enormous wigs are spread. + Out of that fleece, in due time, come + Chains, gallows, tortures dread. + Whenever one called president + Shall shake his bigger head. + + "Let any barber, strolling fool, + Wash, powder, and pomade + The hair which bald heads steal from beards, + Let them be combed and frayed + In shape of a right gorgeous wig-- + Your magistrate is made. + + "The lawyer is a sea of words + Hurled wildly at the bench. + A killing kind of mixing up + Of Latin and bad French--" + +LAFFEMAS (_interrupting him_). + +You sing so false, you'd make an eagle sick. +Be still! + +GRACIEUX (_laughing_). + + I may sing false--the song is true! + +LAFFEMAS (_to Scaramouche_). + +It's your turn now. + +SCARAMOUCHE (_bowing_). + + I'm Scaramouche, my lord! +"The Lady of Honor," sir, I open thus. + [_Declaiming._ +"'Naught is so fine,' said once a Queen of Spain, +'As bishop at the altar, soldier in +The field, unless it is a girl in bed, +Or robber on the gallows--'" + +[_Laffemas interrupts Scaramouche with a gesture and signs to +Taillebras to speak. Taillebras makes a profound obeisance, then +draws himself up._ + +TAILLEBRAS (_with emphasis_). + + As for me, +Sir, I am Taillebras. From Thibet, sir, +I come; I've punished the great Khan, I've captured +The Mogul-- + +LAFFEMAS. + + Choose something else-- + [_Low to Saverny, who stands beside him._ + A beauty, +Eh, this Marion! + +TAILLEBRAS. + + It is one of our best. +If you prefer, I will be Charlemagne, +The Emperor of the West. + [_Declaiming with emphasis._ + "Strange destiny! +O Heaven, I appeal to you! Bear witness +Unto my woe. I must despoil myself, +Surrender my beloved one to another. +I must endow my rival, fill his heart +With joy, while my poor stomach stings with grief. +Thus, birds, you can no more perch in the woods; +Thus, flies, you can no more buzz in the fields; +Thus, sheep, you can no longer wear your wool; +Thus, bulls, you can no longer raze the plains." + +LAFFEMAS. + +Good! +[_To Saverny._] Listen, the fine verses! "Bradamante" +By Garnier; what a poet! + [_To Marion._] 'Tis your turn, +My beauty. First, your name. + +MARION (_trembling_). + + I am Chimène! + +LAFFEMAS. + +Indeed! Chimène? Then you must have a lover. +He has killed a man in duel-- + +MARION (_terrified_). + + Oh, heaven! + +LAFFEMAS (_maliciously_). + +I've a good memory. If one escapes-- + +MARION (_aside_). + +Great heaven! + +LAFFEMAS. + + Come! Now let us hear your scene + +MARION (_half turned toward Didier_). + +"Since to arrest you in this fatal course +Your life and honor are of no avail, +If ever I have loved you, Roderick, +Defend yourself to save me from Don Sancho. +Fight valiantly against the fearful fate +Which must surrender me to one I hate. +Shall I say more? Go; your defense shall be +Your right to force my duty, seal my lips! +If love for me still in your brave heart lies, +Go win this combat, for Chimène is prize." + +[_Laffemas rises gallantly and kisses her hand. Marion is pale; she +looks at Didier, who remains motionless with eyes on the ground._ + +LAFFEMAS. + +No voice but yours could take so firm a hold +Upon the secret fibers of our heart. +You are adorable. +[_To Saverny._] You can't deny +Corneille is not worth Garnier, after all. +'Tis true, his verses have a finer ring +Since he's belonged unto the Cardinal-Duke. +[_To Marion._] What a complexion! What fine eyes! Good God! +This is no place for you! You're buried here. +Sit down! + +[_He sits and makes sign to Marion to sit beside him; she draws back._ + +MARION (_low to Didier, with anguish_). + + For God's sake, let me stay with you! + +LAFFEMAS (_smiling_). + +Come sit by me, I say! + +[_Didier repulses Marion, who staggers terrified to the bench where +Laffemas sits, and falls upon it._ + +MARION (_aside_). + + 'Tis horrible! + +LAFFEMAS (_smiling at Marion, with an air of reproach_). + +At last! +[_To Didier._] Now, sir, your turn. What is your name? + +DIDIER (_with gravity_). + +My name is Didier! + +MARION, LAFFEMAS, SAVERNY. + + Didier! + +DIDIER (_to Laffemas, who laughs triumphantly_). + + Yes, you can +Send all of them away. You've got your prey. +Your prisoner himself takes up his chain. +This joy has cost you a great deal of work. + +MARION (_running to him_). + +Didier! + +DIDIER (_with a freezing look_). + + Don't try to hinder me this time, +Madame! + +[_She starts back and falls crushed upon the bank: to Laffemas._ + + I've watched you creeping close to me, +You demon! In your eyes I've seen that glare +Of hell fire which illuminates your soul. +I might have 'scaped your trap--a useless thing; +But to see cunning wasted thus grieved me. +Take me, and get well paid for treachery. + +LAFFEMAS (_with concentrated rage, trying to laugh_). + +You are not a comedian, it would seem! + +DIDIER. + +It's you who played the comedy. + +LAFFEMAS. + + Not well. +But with the Cardinal I'll write a play. +It is a tragedy: you have a part. + +[_Marion screams with horror. Didier turns from her with contempt._ + +Don't turn your head in such a lordly way. +We will admire your acting, never fear! +Come, recommend your soul to God, my friend. + +MARION. + +Ah, God! + +[_At this moment Marquis de Nangis passes across the back of the +stage, in the same attitude, with his escort of Halberdiers. Marion's +cry arrests him; pale and silent he turns to the characters._ + +LAFFEMAS (_to_ Marquis de Nangis). + + Marquis, I claim your aid. Good news! +Lend me your escort. The murderer escaped +Our vigilance, but we've recaptured him. + +MARION (_throwing herself at Laffemas's feet_). + +Oh, pity for him! + +LAFFEMAS (_with gallantry_). + + At my feet, madame! +'Tis I should kneel at yours. + +MARION (_on her knees, clasping her hands_). + + My lord the judge, +Have mercy upon others, if some day +You hope a jealous judge, more powerful +Than you are, will be merciful to you! + +LAFFEMAS (_smiling_). + +You're preaching us a sermon, I believe! +Ah, madame, reign at balls and shine at fêtes, +But do not preach us sermons. For your sake, +I would do anything; but he has killed-- +It is a murder. + +DIDIER (_to Marion_). + + Rise! [_Marion rises, trembling._ +You lie! it was a duel. + +LAFFEMAS. + +Sir! + +DIDIER. + + I say, you lie! + +LAFFEMAS. + + Have done! + [_To Marion._] Blood calls +For blood; this rigor troubles me-- I wish-- +But he has killed--killed whom? The young marquis, +Gaspard de Saverny, + [_Indicating Marquis de Nangis._ + Nephew to him, +That worthy old man there. A rare young lord; +The greatest loss for France and for the King. +Were he not dead, I do not say that I-- +My heart is not of stone, and if-- + +SAVERNY (_taking a step forward_). + + The man +You think is dead is living. I am he! + [_General astonishment._ + +LAFFEMAS (_starting_). + +Gaspard de Saverny! A miracle! +There is his coffin. + +SAVERNY (_tearing off his false mustache, his plaster, and black wig_). + + But he is not dead! +Who recognizes me? + +MARQUIS DE NANGIS (_as if awakening from a dream, starts, and with +a great cry throws himself into his nephew's arms_). + + Gaspard! My nephew! +It is my child! [_They remain locked in each other's arms._ + +MARION (_falling upon her knees and lifting her eyes to heaven_). + + Didier is saved! Praise God! + +DIDIER (_coldly, to Saverny_). + +What is the use? I wished to die. + +MARION (_still on her knees_). + + Kind God, +You have protected him! + +DIDIER (_continuing, without listening to her_). + + How otherwise +Could he have caught me in his trap? Think you +My spur could not have crushed the spider's web +Which he had made to catch a gnat? Henceforth +I ask no other boon than death. This is +No friendly gift from you, who owe me life! + +MARION. + +What does he say? You must live-- + +LAFFEMAS. + + All's not over. +Is it certain that this is the Marquis? + +MARION. + +It is. + +LAFFEMAS. + + We must have proof of it at once. + +MARION (_indicating Marquis de Nangis, who is still holding Saverny +in his arms_). + +Look at that old man, how he smiles and weeps! + +LAFFEMAS. + +Is that Gaspard de Saverny? + +MARION. + + What heart +Can question such a close embrace? + +MARQUIS DE NANGIS (_turning around_). + + You ask +If it is he--Gaspard, my son, my soul? +[_To Marion._] Did he not ask if it was he, madame? + +LAFFEMAS (_to Marquis de Nangis_). + +Then you affirm that this man is your nephew? +He is Gaspard de Saverny? + +MARQUIS DE NANGIS (_with intensity_). + + I do! + +LAFFEMAS. + +According to the law I do arrest +Gaspard de Saverny, in the King's name. +Your sword! + [_Surprise and consternation among the characters._ + +MARQUIS DE NANGIS. + + My son! + +MARION. + + Oh, Heaven! + +DIDIER. + + Another head! +Yes, two were needed. 'Tis the least, to bring +This Roman Cæsar one head in each hand. + +MARQUIS DE NANGIS. + +Speak! By what right-- + +LAFFEMAS. + + Ask my lord cardinal. +All who survive a duel fall beneath +The ordinance. Give me your sword. + +DIDIER (_looking at Saverny_). + + Rash man! + +SAVERNY (_drawing his sword and presenting it to Laffemas_). + +'Tis here! + +MARQUIS DE NANGIS (_stopping him_). + + A moment! None is master here +Save me! I mete out justice high and low. +Our sire the King would be no more than guest. +[_To Saverny._] Give up your sword to none but me. + +[_Saverny hands him his sword, and clasps him in his arms._ + +LAFFEMAS. + + In truth, +That is a feudal right quite out of date. +The Cardinal might blame me for it, but +I would not willingly annoy you-- + +DIDIER. + + Wretch! + +LAFFEMAS (_bowing to Marquis de Nangis_). + +So I consent. You can return the favor +By loaning me your guard and prison, sir. + +MARQUIS DE NANGIS (_to his Guards_). + +Not so! Your sires were vassals to my sires. +I forbid any one to stir a step. + +LAFFEMAS (_with voice of thunder_). + +My masters, hark to me: I am the judge +Of the secret tribunal, Criminal- +Lieutenant to the Cardinal. Conduct +These men to prison. Four of you mount guard +Before each door. You're all responsible. +It would be rash to disobey when I command +You to go here or there or do a deed. +If any hesitate, it is because +His head annoys him. + +[_The Guards, terrified, drag the two prisoners off in silence, Marquis +de Nangis turns away indignant and buries his face in his hands._ + +MARION. + + All is lost! + [_To Laffemas._] Have pity! +If in your heart-- + +LAFFEMAS (_low to Marion_). + + If you will come to-night, +I'll tell you something-- + +MARION (_aside_). + + What is it he wants? +His smiles are terrible. He has a gloomy, +Treacherous soul. + [_Turning with desperation to Didier._ + Didier! + +DIDIER (_coldly_). + + Farewell, madame! + +MARION (_shuddering at the tone of his voice_). + +What have I done? Oh, miserable woman! + [_She sinks upon the bank._ + +DIDIER. + +Miserable! Yes! + +SAVERNY (_embraces Marquis de Nangis, then turns to Laffemas_). + + Is your pay doubled +When you bring two heads? + +LACKEY (_entering, to Marquis de Nangis_). + + My lord, +The funeral preparations for the Marquis +Are now completed. I am sent to you +To know what hour and day the ceremony +Will be performed. + +LAFFEMAS. + + Come back one month from now. + +[_The Guards lead off Didier and Saverny._ + + + + +_ACT IV_ + +THE KING + +Scene.--_Chambord. The guard-room in the Castle of Chambord_ + + +SCENE I + +_Duke de Bellegarde, rich court costume covered with embroidery and +lace, the order of the Holy Ghost around his neck, and the star upon his +cloak. Marquis de Nangis, in deep mourning and followed by his escort +of Guards. Both cross the back of the hall_ + +DUKE DE BELLEGARDE. + +Condemned? + +MARQUIS DE NANGIS. + + Condemned! + +DUKE DE BELLEGARDE. + + E'en so! The King can pardon. +It is his kingly right and royal duty. +Have no more fear. In heart as well as name +He's son of Henry IV. + +MARQUIS DE NANGIS. + + I was his comrade. + +DUKE DE BELLEGARDE. + +Indeed, we spoiled full many a coat of armor +For the proud sire! Now go unto the son, +Show him your gray hairs, and in lieu of prayer +Cry out "Ventre Saint Gris!" Let Richelieu +Himself give better reason! Hide here now. + [_He opens a side door._ +He's coming soon. Do you know, to be frank, +Your costume's of a style to make one laugh. + +MARQUIS DE NANGIS. + +Laugh at my mourning? + +DUKE DE BELLEGARDE. + + Ah, these coxcombs here! +Old friend, stay there; you'll not have long to wait. +I will dispose him 'gainst the Cardinal. +I'll stamp upon the ground for signal; then +Come out. + +MARQUIS DE NANGIS (_grasping his hand_). + + May God repay you! + +DUKE DE BELLEGARDE (_to a Musketeer who walks up and down in front of +a small gilt door_). + + Monsieur, pray, +What does the King? + +MUSKETEER. + + He's working, my lord duke! + [_Lowering his voice._ +A man in black is with him. + +DUKE DE BELLEGARDE (_aside_). + + At this moment +He is singing a death-warrant, I believe. + +[_To the old Marquis, grasping his hand._ + +Be brave! + +[_He conducts him to a neighboring gallery._ + + While waiting for the signal, look +At these new ceilings, they're by Primatice. + +[_Both go out. Marion, in deep mourning, enters through the great door +in the back, which opens on a staircase._ + + +SCENE II + +_Marion, the Guards_ + +HALBERDIER (_to Marion_). + +Madame, you cannot enter! + +MARION (_advancing_). + Sir! + +HALBERDIER (_placing his halberd against the door_). + + I say, +No entrance! + +MARION (_with contempt_). + + Here you turn your lance against +A woman. Elsewhere, 'tis in her defense. + +MUSKETEER (_laughing, to Halberdier_). + +Well said! + +MARION (_firmly_). + + I must immediately have audience +With the Duke de Bellegarde. + +HALBERDIER (_lowering his halberd, aside_). + + Ah, these gallants! + +MUSKETEER. + +Enter, madame. + [_She enters with determined step._ + +HALBERDIER (_aside, watching her from the corner of his eye_). + + Well, the old duke is not +As feeble as he looks. This rendezvous +Would have cost him a sojourn in the Louvre, +In former times. + +MUSKETEER (_making sign to Halberdier to keep still_). + + The door is open. + +[_The little gilt door is opened. M. de Laffemas comes out, holding in +his hand a parchment to which a red seal hangs by strands of silk._ + + +SCENE III + +_Marion, Laffemas: gesture of surprise from both. Marion turns +away from him with horror_ + +LAFFEMAS (_low, advancing slowly toward Marion_). + + You! +What is your errand here? + +MARION. + + What's yours? + +LAFFEMAS (_unrolls the parchment and spreads it out before her eyes_). + + Signed by +The King! + +MARION (_glances at it, then buries her face in her hands_). + + Good God! + +LAFFEMAS (_speaking in her ear_). + + Will you? + +[_Marion shivers and looks him in the face; he fixes his eyes on hers: +lowering his voice._ + + Wilt thou? + +MARION (_pushing him away_). + + Away! +Foul tempter! + +LAFFEMAS (_straightening himself up, sneeringly_). + + You will not! + +MARION. + + I have no fear! +The King can pardon: 'tis the King who reigns. + +LAFFEMAS. + +Go try him. See what his good will is worth! + +[_He turns away, then turns back: folds his arms and whispers to her._ + +Beware of waiting until I refuse! + +[_Exits. Duke de Bellegarde enters._ + + +SCENE IV + +Marion, Duke de Bellegarde + +MARION (_going toward Duke de Bellegarde_). + +Here you are captain, my lord duke. + +DUKE DE BELLEGARDE. + + 'Tis you, +My beauty! [_Bowing._ + Speak! What does my queen desire? + +MARION. + +To see the King. + +DUKE DE BELLEGARDE. + + When? + +MARION. + + Now! + +DUKE DE BELLEGARDE. + + This is short notice! +Why? + +MARION. + + For something! + +DUKE DE BELLEGARDE (_bursting into a laugh_). + + We will send for him! +How she goes on! + +MARION. + + Then you refuse me? + +DUKE DE BELLEGARDE. + + Nay! +Am I not yours? Have we refused each other +Anything? + +MARION. + + That's very well, my lord! +When shall I see the King? + +DUKE DE BELLEGARDE. + + After the Duke. +I promise you shall see him when he passes +Through this hall. But while waiting, talk with me! +Ah, little woman, are we good? In black? +Lady-in-waiting you might be. You used +To laugh so much. + +MARION. + + I don't laugh now. + +DUKE DE BELLEGARDE. + + Indeed! +I think she's weeping! Marion! You? + +MARION (_wiping her eyes: with firm tone_). + + My lord, +I want to see his Majesty at once! + +DUKE DE BELLEGARDE. + +For what? + +MARION. + + Just Heaven! For-- + +DUKE DE BELLEGARDE. + + Is it against +The Cardinal? + +MARION. + + It is! + +DUKE DE BELLEGARDE (_opening the gallery for her_). + Please enter here. +I put the discontented all in there; +Do not come out before the signal, please. + [_Marion enters; he shuts door._ +I would have run the risk for my old friend. +It costs no more to do it for them both. + +[_The hall is gradually filled with Courtiers; they talk together. Duke +de Bellegarde goes from one to the other. L'Angely enters._ + + +SCENE V + +_The same. Duke de Beaupréau, Laffemas, Viscount de Rohan, Count +de Charnacé, Abbé de Gondi, and other courtiers_ + +DUKE DE BELLEGARDE (_to Duke de Beaupréau_). + +Good-morning, Duke! + +DUKE DE BEAUPRÉAU. + + Good-morning! + +DUKE DE BELLEGARDE. + + Any news? + +DUKE DE BEAUPRÉAU. + +There's talk of a new cardinal. + +DUKE DE BELLEGARDE. + + Which one? +The Archbishop of Arle? + +DUKE DE BEAUPRÉAU. + + No! Bishop of Autun. +All Paris thinks he has obtained the hat. + +ABBÉ DE GONDI. + +'Tis his by right. He was commander of +Artillery at the siege of La Rochelle. + +DUKE DE BELLEGARDE. + +That's true! + +L'ANGELY. + + The Holy See has my approval. +This one will be a cardinal according +To the canons. + +ABBÉ DE GONDI (_laughing_). + + L'Angely--the fool! + +L'ANGELY (_bowing_). + +My lord knows all my names. + +[_Laffemas enters; all the Courtiers vie with each other in paying +court to him and surrounding him. Duke de Bellegarde watches them with +vexation._ + +DUKE DE BELLEGARDE (_to_ L'Angely). + + Fool, who's that man +Who wears the ermine cloak? + +L'ANGELY. + + Whom every one +Is paying court to? + +DUKE DE BELLEGARDE. + + Yes. I know him not. +Is he a follower of Monsieur d'Orleans? + +L'ANGELY. + +They would not fawn on him so much. + +DUKE DE BELLEGARDE (_watching Laffemas, who struts about_). + + What airs! +As if he were grandee of Spain! + +L'ANGELY (_low_). + + It is +Sir Laffemas, intendant of Champagne, +Lieutenant-Criminal-- + +DUKE DE BELLEGARDE (_low_). + + Infernal, say! +He's called the Cardinal's executioner? + +L'ANGELY (_still low_). + +The same. + +DUKE DE BELLEGARDE. + + That man at Court! + +L'ANGELY. + + Why not? One extra +Tiger-cat in the menagerie! +Shall I present him? + +DUKE DE BELLEGARDE (_haughtily_). + + Peace, you fool! + +L'ANGELY. + + I think +I'd cultivate him if I were a lord. +Be friendly! Unto each man comes his day. +If he takes not your hand, he may your head. + +[_He seeks Laffemas, presents him to Duke de Bellegarde, who bows +with ill-concealed displeasure._ + +LAFFEMAS (_bowing_). + +Sir Duke! + +DUKE DE BELLEGARDE. + + Sir, I am charmed-- + [_Aside._] Upon my life, +We're fallen low, Monsieur de Richelieu! + [_Laffemas walks away._ + +VISCOUNT DE ROHAN (_bursting into laughter among a group of +Courtiers in the back of the hall_). + +Delightful! + +L'ANGELY. + + What? + +VISCOUNT DE ROHAN. + + That Marion is here. + +L'ANGELY. + +Here--Marion? + +VISCOUNT DE ROHAN. + + We were just saying this: +"Chaste Louis's guest is Marion." How rich! + +L'ANGELY. + +A charming piece of wit, indeed, my lord! + +DUKE DE BELLEGARDE (_to Count de Charnacé_). + +Sir wolf-hunter, have you found any prey? +Is hunting good? + +COUNT DE CHARNACÉ + + There's nothing! Yesterday +I had great expectations, for three peasants +Had been devoured by wolves. At first I thought +We would find several at Chambord. I beat +The woods, but not a wolf, nor trace of one! +[_To L'Angely._] Fool, know you anything that's gay? + +L'ANGELY. + + Nothing, +My lord, except two men will soon be hanged +At Beaugency for dueling. + +ABBÉ DE GONDI. + + So little, +Bah! [_The small gilt door is opened._ + +AN USHER. + + The King! + +[_The King enters; he is in black, his eyes are cast down. The order +of the Holy Ghost is on his doublet and his cloak. Hat on his head. The +Courtiers all uncover and range themselves, silently, in two rows. The +Guards lower their pikes and present muskets._ + + +SCENE VI + +_The same. The King. The King enters slowly, passes through the +crowd of Courtiers, without lifting his head, stops at front of stage, +and stands for several instants absorbed and silent. The Courtiers +retire to the back of the hall_ + +THE KING. + +All things move on from bad to worse. Yes, all! + [_To Courtiers, nodding his head._ +God keep you, gentlemen! + +[_He throws himself into a large armchair and sighs profoundly._ + + I have slept ill! + [_To Duke de Bellegarde._ +My lord! + +DUKE DE BELLEGARDE (_advancing with three profound salutations_). + + The time for sleeping, sire, is past. + +THE KING (_eagerly_). + +True, Duke! The State is rushing to destruction +With giant strides! + +DUKE DE BELLEGARDE. + + 'Tis guided by a hand +Both strong and wise. + +THE KING. + + He bears a heavy burden, +Our good lord cardinal! + +DUKE DE BELLEGARDE. + + Sire! + +THE KING. + + He is old. +I ought to spare him, but I have enough +To do with living, without reigning! + +DUKE DE BELLEGARDE. + + Sire, +The Cardinal's not old! + +THE KING. + + Pray, tell me frankly-- +No one is watching or is listening here-- +What do you think of him? + +DUKE DE BELLEGARDE. + + Of whom, sire? + +THE KING. + + Him! + +DUKE DE BELLEGARDE. + +His Eminence? + +THE KING. + + Of course! + +DUKE DE BELLEGARDE. + + My dazzled eyes +Can hardly fix themselves-- + +THE KING. + + Is that your frankness? +There is no cardinal here, nor red, nor gray! +No spies! Speak! Why are you afraid? The King +Wants your opinion of the Cardinal. + +DUKE DE BELLEGARDE. + +Entirely frank, sire? + +THE KING. + + Yes, entirely frank. + +DUKE DE BELLEGARDE (_boldly_). + +Well, then, I think him a great man! + +THE KING. + + If needful +You would proclaim it on the house-tops? Good! +Can you not understand? The State, mark me, +Is suffering, because he does it all +And I am nothing! + +DUKE DE BELLEGARDE. + + Ah! + +THE KING. + + Rules he not war +And peace, finances, states? Makes he not laws, +Edicts, mandates, and ordinances too? +Through treachery he broke the Catholic league; +He strikes the house of Austria--friendly +To me--to which the Queen belongs. + +DUKE DE BELLEGARDE. + + Ah, sire, +He lets you keep a vivary within +The Louvre. You have your share. + +THE KING. + Then he intrigues +With Denmark. + +DUKE DE BELLEGARDE. + + But he let you fix the marc +Among the jewelers. + +THE KING (_whose ill-humor increases_). + + He fights with Rome! + +DUKE DE BELLEGARDE. + +He let you issue an edict, alone, +By which a citizen was not allowed +To eat more than a crown's worth at a tavern, +E'en though he wished to. + +THE KING. + + All the treaties he +Concludes in secret. + +DUKE DE BELLEGARDE. + + Yes; but then you have +Your hunting mansion at Planchette. + +THE KING. + + All--all! +He does it all! All with petitions rush +To him! I'm but a shadow to the French! +Is there a single one who comes to me +For help? + +DUKE DE BELLEGARDE. + + Those who have the king's evil come. + +[_The anger of The King increases._ + +THE KING. + +He means to give my order to his brother! +I will not have it! I rebel. + +DUKE DE BELLEGARDE. + + But, sire-- + +THE KING. + +I am disgusted with his people! + +DUKE DE BELLEGARDE. + + Sire! + +THE KING. + +His niece, Combalet, leads a model life. + +DUKE DE BELLEGARDE. + +'Tis slander, sire! + +THE KING. + + Two hundred foot-guards! + +DUKE DE BELLEGARDE. + + But +Only a hundred horse-guards! + +THE KING. + + What a shame! + +DUKE DE BELLEGARDE. + +He saves France, sire. + +THE KING. + + Does he? He damns my soul! +With one arm fights the heathen, with the other +He signs a compact with the Huguenots. + [_Whispering to Duke de Bellegarde._ +Then, if I dared to count upon my hand +The heads--the heads that fall for him at Grève! +All friends of mine! His purple robes are made +Of their hearts' blood! 'Tis he who forces me +To wear eternal mourning. + +DUKE DE BELLEGARDE. + + Treats he his own +More kindly? Did he spare Saint Preuil? + +THE KING. + + He has +A bitter tenderness, they say, for those +He loves. He must love me tremendously! + +[_Abruptly, after a pause, folding his arms._ + +He has exiled my mother! + +DUKE DE BELLEGARDE. + + But he thinks +He does your will. He's faithful. He is firm +And sure. + +THE KING. + + I hate him! He is in my way. +He crushes me! I am not master here-- +Not free! And yet I might be something. Ah, +When he walks o'er me with such heavy tread, +Does he not fear to rouse a slumbering king? +For trembling near me, be it ne'er so high, +His fortune vacillates with every breath +I draw, and all would crumble at a word, +Did I wish loud, what I wish in my heart! + [_A pause._ +That man makes good men bad, and bad men vile! +The kingdom, like the king, already sick, +Grows worse. Without is cardinal, within +Is cardinal; no king is anywhere! +He torments Austria, lets any one +Capture my vessels in Gascony's Bay. +Allies me with Gustavus Adolphus! +What more? I do not know. He's everywhere: +As if he were soul of the king, he fills +My kingdom, and my family, and me. +I am much to be pitied. [Going to window. + Always rain. + +DUKE DE BELLEGARDE. + +Your Majesty is suffering? + +THE KING. + + I am bored. + [_A pause._ +I am the first in France and yet the last! +I'd change my lot to lead a poacher's life-- +To hunt all day; to have no cares to fret +The pleasures of the chase; to sleep 'neath trees; +To laugh at the King's officers, to sing +During the storm; to live as freely in the woods +As birds live in the air. The peasant in +His hut, at least, is master and is king; +But with that scarlet man forever there, +Forever stern and cold, and speaking thus, +"This must be your good pleasure, sire!" Oh, outrage! +This man conceals me from my people's gaze. +As with young children, he hides me beneath +His robe; and when a passer-by asks, "Who +Is that behind the Cardinal?" they say, +"The King!" Then there are new lists every day. +Last week the Huguenots; the duelists +To-day! He wants their heads. Such a great crime-- +A duel! But the heads; what does he do +With them? + +[_Duke de Bellegarde stamps his foot. Enter Marquis de Nangis and +Marion._ + + +SCENE VII + +_The same. Marion, Marquis de Nangis. Marquis de Nangis advances +with his escort to within a few steps of The King; he kneels there. +Marion falls on her knees at the door_ + +MARQUIS DE NANGIS. + + Justice, my sire. + +THE KING. + + Against whom? Speak! + +MARQUIS DE NANGIS. + +Against a cruel tyrant--against Armand, +Called here the cardinal-minister! + +MARION. + + Mercy, +My sire! + +THE KING. + + For whom? + +MARION. + + For Didier! + +MARQUIS DE NANGIS. + + And for him, +Gaspard de Saverny! + +THE KING. + + I've heard those names. + +MARQUIS DE NANGIS. + +Justice and mercy, sire! + +THE KING. + + What title? + +MARQUIS DE NANGIS. + + Sire, +I am uncle of one. + +THE KING. + + And you? + +MARION. + + I'm sister +Unto the other! + +THE KING. + + Why do you come here, +Sister and uncle? + +MARQUIS DE NANGIS (_indicating first one of The King's hands, +then the other_). + + To entreat mercy +From this hand, and justice from that! My sire, +I, William, Marquis de Nangis, Captain +Of Hundred Lances, Baron of Mountain +And Field, do make appeal to my two lords-- +The King of France and God, for justice 'gainst +Armand du Plessis, Cardinal Richelieu. +Gaspard de Saverny, for whom I make +This prayer, is my nephew-- + +MARION (_low to Marquis de Nangis_). + + Oh, speak for both, +My lord! + +MARQUIS DE NANGIS (_continuing_). + + Last month he had a duel with +A captain, a young nobleman, Didier. +Of parentage uncertain. 'Twas a fault. +They were too rash and brave. The minister +Had stationed sergeants-- + +THE KING. + + Yes, I know the story. +Well, what have you to say? + +MARQUIS DE NANGIS. + + That 'tis high time +You thought about these things! The Cardinal-Duke +Has more than one disastrous scheme afoot. +He drinks the best blood of your subjects, sire! +Your father, Henry IV., of royal heart, +Would not have sacrificed his nobles thus! +He never struck them down without dire need! +Well served by them, he sought to guard them well. +He knew good soldiers had more use in them +Than trunkless heads. He knew their worth in war, +This soldier-king whose doublet smelled of battle! +Great days were those. I shared, I honor them! +A few of the old race are living yet. +Never could priest have touched one of those lords. +There was no selling of a great head cheap! +Sire, in these treacherous days to which we've come, +Trust an old man, keep a few nobles by. +Perhaps, in your turn, you will need their help. +The time may come when you will groan to think +Of all the honors lavished on La Grève! +Then, sadly, your regretful eyes will seek +Those lords indomitably brave and true, +Who, dead so long, had still been young to-day. +The country's heart yet pants with civil war; +The tocsin of past years re-echoes yet, +Be saving of the executioner's arm! +He is the one should sheathe his sword, not we! +Be miserly with scaffolds, O my sire! +'Twill be a woful thing some later day +To mourn this great man's help, who hangs to-day +A whitening skeleton on gallows-tree! +For blood, my king, is no good, wholesome dew. +You'll reap no crops from irrigated Grève! +The people will avoid the sight of kings. +That flattering voice which tells you all is well, +Tells you you're son of Henry IV., and Bourbon-- +That voice, my sire, however high it soars, +Can never drown the thud of falling heads! +Take my advice: play not this costly game. +You, King, are bound to look God in the face, +Hark to the words of fate, ere it rebels! +War is a nobler thing than massacre! +'Tis not a prosperous nor joyful State +When headsmen have more work than soldiers have! +He for our country is a pastor hard, +Who dares collect his tithes in slaughtered heads! +Look! this proud lord of inhumanity +Who holds your scepter has blood-covered hands! + +THE KING. + +The Cardinal's my friend! Who loves me must +Love him! + +MARQUIS DE NANGIS. + + Sire! + +THE KING. + + Silence! He's my second self. + +MARQUIS DE NANGIS. + +Sire! + +THE KING. + + Bring no more such griefs to trouble me! + +[_Showing his hair, which is beginning to turn gray._ + +Petitioners like you make these gray hairs! + +MARQUIS DE NANGIS. + +An old man, sire; a woman, sire, who weeps! +A word from you is life or death for us! + +THE KING. + +What do you ask? + +MARQUIS DE NANGIS. + + Pardon for my Gaspard! + +MARION. + +Pardon for Didier! + +THE KING. + + Pardons of a king +Are often thefts from justice! + +MARION. + + Oh, no, sire! +Since God himself is merciful, you need +Not fear! Have pity! Two young, thoughtless men, +Pushed by this duel o'er a precipice +To die! Good God! to die upon the gallows! +You will have pity, won't you? I don't know +How people talk to kings--I'm but a woman; +To weep so much perhaps is wrong. But oh, +A monster is that cardinal of yours. +Why does he hate them? They did naught to him. +He never saw my Didier. All who do +Must love him! They're so young--these two! To die +For just a duel! Think about their mothers. +Oh, it is horrible! You will not do it, sire! +We women cannot talk as well as men. +We've only cries and tears and knees, which bend +And totter as kings turn their eyes on us. +They were in fault, of course! But if they broke +Your law, you can forgive it! What is youth? +Young people are so heedless! For a look, +A word, a trifle, anything or nothing, +They always lose their heads like that! Such things +Are happening every day. Each noble, here, +He knows it. Ask them, sire! Is it not true, +My lords? Oh, frightful hour of agony! +To know with one word you can save two lives! +I'd love you all my life, sire, if you would +Have mercy--mercy, God! If I knew how, +I'd talk so that you'd have to say that word. +You'd pardon them; you'd say, "I must console +That woman, for her Didier is her soul." +I suffocate, sire. Pity, pity me! + +THE KING. + +Who is this woman? + +MARION. + + She's a sister, sire, +Who trembles at your feet. You owe something +Unto your people! + +THE KING. + + Yes! I owe myself +To them, and dueling does grievous harm. + +MARION. + +You should have pity! + +THE KING. + + And obedience, too! + +MARQUIS DE NANGIS. + +Two boys of twenty years! Think of it well! +Their years together are but half of mine! + +MARION. + +Your Majesty, you have a mother, wife, +A son--some one at least who's dear to you! +A brother? Then have pity for a sister! + +THE KING. + +No, I have not a brother! [_Reflects a moment._ + Yes, _Monsieur_! + +[_Perceiving the escort of Marquis de Nangis._ + +Well, my lord marquis, what is this brigade? +Are we besieged, or off to the Crusades? +To bring your guards thus boldly in my sight, +Are you a duke and peer? + +MARQUIS DE NANGIS. + + I'm better, sire, +Than any duke and peer, created for mere show! +I'm Breton baron of four baronies. + +DUKE DE BELLEGARDE (_aside_). + +His pride is great, and here, unfortunate! + +THE KING. + +Good! To your manors carry back your rights, +And leave us ours within our own domain. +We are justiciary! + +MARQUIS DE NANGIS (_shuddering_). + + Sire, reflect! +Think of their age, their expiated fault! + [_Falling on his knees._ +The pride of an old man, who, prostrate, kneels! +Have mercy! + +[_The King makes an abrupt sign of anger and refusal._ + + I was comrade to Henry! +Your father and our father! I was there +When he--that monster--struck the fatal blow. +'Til night I watched beside my royal dead: +It was my duty. I have seen my father +And my six brothers fall 'neath rival factions; +I have lost the wife who loved me. Now +The old man standing here is like a victim +Whom a hard executioner, for sport, +Has bound unto the wheel the whole long day. +My master, God has broken every limb +With His great iron rod! 'Tis night-time now, +And I've received the final blow! Farewell, +My king! God keep you! + +[_He makes a profound obeisance, and exits. Marion lifts herself with +difficulty, and, staggering, falls on the threshold of the gilt door of +The King's private room._ + +THE KING (_to Duke de Bellegarde, wiping his eyes and watching the +retreating figure of Marquis de Nangis_). + + A sad interview! +Ah, not to weaken, kings must watch themselves! +To do right is not easy. I was touched. + +[_Reflects for a moment, then interrupts himself suddenly._ + +No pardoning to-day, for yesterday +I sinned too much! + +[_Approaching Duke de Bellegarde._ + + Before he came, my lord, +You said bold things, which may be bad for you +When I report to my lord cardinal +The conversation we have had. I'm sorry +For you, Duke. In the future, have more care! +I slept so wretchedly, my poor Bellegarde. + +[_With a gesture dismissing Courtiers and Guards._ + +Pray leave us, gentlemen! + [_To L'Angely._] Stay, you! + +[_All go out except Marion, whom The King does not see. Duke de +Bellegarde sees her crouching on the threshold of the door and goes to +her._ + +DUKE DE BELLEGARDE (_low to Marion_). + + My child, +You can't remain here, crouching by this door; +What are you doing like a statue there? +Get up and go away! + +MARION. + + I'm waiting here +For them to kill me! + +L'ANGELY (_low to Duke de Bellegarde_). + + Leave her there, my lord! +[_Low to Marion._] Remain! + +[_He returns to The King, who is seated in the great armchair and is +in a profound reverie._ + + +SCENE VIII + +The King, L'Angely + +THE KING (_sighing deeply_). + + Ah! L'Angely, my heart is sick. +'Tis full of bitterness. I cannot smile. +You, only, have the power to cheer me. Come! +You stand in no awe of my majesty. +Come, throw a glint of pleasure in my soul. + [_A pause._ + +L'ANGELY. + +Life is a bitter thing, your Majesty. + +THE KING. + +Alas! + +L'ANGELY. + + Man is a breath ephemeral! + +THE KING. + +A breath, and nothing more! + +L'ANGELY. + + Unfortunate +Is any one who is both man and king. +Is it not true? + +THE KING. + + A double burden--yes. + +L'ANGELY. + +And better far than life, sire, is the tomb, +If but its gloom is deep enough! + +THE KING. + + I've thought +That always! + +L'ANGELY. + + To be dead or unborn is +The only happiness. Yes, man's condemned! + +THE KING. + +You give me pleasure when you talk like this! + [_A silence._ + +L'ANGELY. + +Once in the tomb, think you one e'er gets out? + +THE KING (_whose sadness has increased with the Fool's words_). + +We'll know that later. I wish I were there! + [_Silence._ +Fool, I'm unhappy! Do you comprehend? + +L'ANGELY. + +I see it in your face so thin and worn, +And in your mourning-- + +THE KING. + + Ah, why should I laugh? +Your tricks are lost on me! What use is life +To you? The fine profession! Jester to the King! +Bell out of tune, a jumping-jack to play with, +Whose half-cracked laugh is but a poor grimace! +What is there in the world for you, poor toy? +Why do you live? + +L'ANGELY. + + For curiosity. +But you--why should you live? I pity you! +I'd sooner be a woman than a king +Like you. I'm but a jumping-jack whose string +You hold; but underneath your royal coat +There's hid a tauter string, a strong arm holds. +Better a jumping-jack in a king's hands +Than in a priest's, my sire. + [_Silence._ + +THE KING (_thinking, growing more and more sad_). + + You speak the truth, +Although you laugh. He is a fearful man! +Has Satan made himself a cardinal? +What if 'twere Satan who possessed my soul! +What say you? + +L'ANGELY. + + I have often had that thought +Myself! + +THE KING. + + We must not speak thus. 'Tis a sin! +Behold, how dire misfortune follows me! +I had some Spanish cormorants. I come +To this place--not a drop of water here +For fishing! In the country! Not a pond +In this accursed Chambord large enough +To drown a flesh-worm! When I wish to hunt-- +The sea! And when I wish to fish--the fields! +Am I unfortunate enough? + +L'ANGELY. + + Your life +Is full of woe. + +THE KING. + + How will you comfort me? + +L'ANGELY. + +Another grief! You hold in high esteem, +And justly too, the art of training hawks +For hunting partridges. A good huntsman-- +You're one--ought to respect the falconer. + +THE KING. + +The falconer! A god! + +L'ANGELY. + + Well! there are two +Who are at point of death! + +THE KING. + + Two falconers? + +L'ANGELY. + +Yes! + +THE KING. + + Who are they? + +L'ANGELY. + + Two famous ones! + +THE KING. + + But who? + +L'ANGELY. + +Those two young men whose lives were begged of you! + +THE KING. + +Gaspard and Didier? + +L'ANGELY. + + Yes; they are the last. + +THE KING. + +What a calamity! Two falconers! +Now that the art is very nearly lost. +Unhappy duel! When I'm dead, this art +Will go from earth, as all things go at last! +Why did they fight this duel? + +L'ANGELY. + + One declared +That hawks upon the wing were not as swift +As falcons. + +THE KING. + + He was wrong. But yet that seems +Scarcely a hanging matter-- [_Silence._ + And my right +Of pardon is inviolable--though +I am too lenient, says the Cardinal! [_Silence._ +[_To L'Angely._] The Cardinal desires their death? + +L'ANGELY. + + He does! + +THE KING (_after pausing and reflecting_). + +Then they shall die! + +L'ANGELY. + + They shall! + +THE KING. + + Poor falconry! + +L'ANGELY (_going to window_). + +Sire, look! + +THE KING (_turns around suddenly_). + + At what? + +L'ANGELY. + + Just look, I beg of you! + +THE KING (_rising and going to the window_). + +What is it? + +L'ANGELY (_indicating something outside_). + + They have changed the sentinel! + +THE KING. + +Well, is that all? + +L'ANGELY. + + Who is that fellow with +The yellow lace? + +THE KING. + + No one--the corporal! + +L'ANGELY. + +He puts a new man there. What says he, low? + +THE KING. + +The password! Fool! What are you driving at? + +L'ANGELY. + +At this: Kings act the part of sentinels. +Instead of pikes, a scepter they must bear. +When they have strutted 'round their little day, +Death comes--the corporal of kings--and puts +Another scepter-bearer in their place, +Speaking the password which God sends, and which +Is clemency. + +THE KING. + + No, it is justice. Ah, +Two falconers! It is a frightful loss! +Still, they must die. + +L'ANGELY. + + As you must die, and I. +Or big or little, death has appetite +For all. But though they've not much room, +The dead sleep well. The Cardinal annoys +And wearies you. Wait, sire! A day, a month, +A year; when we have played as long as needful-- +I, my own part of fool; you, king; and he, +The master--we will go to sleep. No matter +How proud or great we are, no one shall have +More than six feet of territory there. +Look! how they bear his lordly litter now! + +THE KING. + +Yes, life is dark; the tomb alone is bright. +If you were not at hand to cheer me up-- + +L'ANGELY. + +Alas! I came to-day to say farewell. + +THE KING. + +What's that? + +L'ANGELY. + + I leave you! + +THE KING. + + You're a crazy fool! +Death, only, frees from royal service. + +L'ANGELY. + + Well, +I am about to die! + +THE KING. + + Have you gone mad? + +L'ANGELY. + +You have condemned me--you, the King of France! + +THE KING. + +If you are joking, fool, explain yourself. + +L'ANGELY. + +I shared the duel of those two young men-- +At least my sword did, sire, if I did not. +I here surrender it. + +[_Draws his sword and, kneeling, presents it to The King._ + +THE KING (_takes it and examines it_). + + Indeed, a sword! +Where does it come from, friend? + +L'ANGELY. + + We're noble, sire! +The guilty are not pardoned. I am one. + +THE KING (_somber and stern_). + +Good night, then! Let me kiss your neck, poor fool, +Before they cut it off. [_Embraces L'Angely._ + +L'ANGELY (_aside_). + + He's in dead earnest! + +THE KING (_after a pause_). + +For never does a worthy king oppose +The course of justice. But you claim too much, +Lord Cardinal--two falconers and my fool! +All for one duel! + +[_Greatly agitated, he walks up and down with his hand on his forehead. +Then he turns to L'Angely, who is most anxious._ + + Go! console yourself! +Life is but bitterness, the tomb means rest. +Man is a breath ephemeral. + +L'ANGELY (_aside_). + + The devil! + +[_The King continues to pace the floor and appears violently +agitated._ + +THE KING. + +And so, you think you'll have to hang, poor fool! + +L'ANGELY (_aside_). + +He means it! God! I feel cold perspiration +Starting upon my brow. + [_Aloud._] Unless a word +From you-- + +THE KING. + + Whom shall I have to make me laugh? +If you should rise from out the tomb, come back +And tell me all about it. 'Tis a chance! + +L'ANGELY. + +The errand is a pleasant one! + +[_The King continues to walk rapidly, speaking to L'Angely now and +then._ + +THE KING. + + What triumph +For my lord cardinal--my fool! + [_Folding his arms._ + Think you +I could be master if I wished to be? + +L'ANGELY. + +Montaigne would say, "Who knows?" And Rabelais, +"Perhaps." + +THE KING (_with gesture of determination_). + + Give me a parchment, fool. + +[_L'Angely eagerly hands a parchment which he finds on the table near +the writing-desk. The King hastily writes a few words, then gives the +parchment back to L'Angely._ + + Behold! +I pardon all. + +L'ANGELY. + + All three? + +THE KING. + + Yes. + +L'ANGELY (_running to Marion_). + + Come, madame, +Come, kneel, and thank the King. + +MARION (_falling on her knees_). + + We have the pardon? + +L'ANGELY. + +Yes! It was I-- + +MARION. + + Whose knees must I embrace-- +His Majesty's or yours? + +THE KING (_astonished, examining Marion: aside_). + + What does this mean? +Is this a trap? + +L'ANGELY (_giving parchment to Marion_). + + Here is the pardon. Take it! + +[_Marion kisses it, and puts it in her bosom._ + +THE KING (_aside_). + +Have I been duped? + [_To Marion._] One instant! Give it back! + +MARION. + +Good God! + +[_To The King, with courage, touching her breast._ + + Come here and take it, and tear out +My heart as well! + +[_The King stops and steps backward, much embarrassed._ + +L'ANGELY (_low to Marion_). + + Good! Keep it, and be firm! +His Majesty won't take it, there! + +THE KING (_to Marion_). + + Give it +To me! + +MARION. + + Take it, my sire! + +THE KING (_casting down his eyes_). + + Who is this siren? + +L'ANGELY (_low to Marion_). + +He wouldn't touch the corset of the Queen! + +THE KING (_after a moment's hesitation, dismisses Marion with +a gesture without looking at her_). + +Well, go! + +MARION (_bowing profoundly to The King_). + + I'll fly to save the prisoners! [_Exits._ + +L'ANGELY (_to The King_). + +She's sister to Didier, the falconer. + +THE KING. + +She can be what she will. It's very strange, +The way she made me drop my eyes! Made me, +A man-- [_Silence._ + Fool, you have played a trick on me! +I'll have to pardon you a second time. + +L'ANGELY. + +Yes, do it! Every time they grant a pardon, +Kings lift a dreary weight from off their hearts. + +THE KING. + +You speak the truth. I always suffer when +La Grève holds court. Nangis was right: the dead +Serve nobody. To fill Montfaucon +I make a desert of the Louvre! + [_Walking rapidly._ + 'Tis treason +To strike my right of pardon out, before +My face. What can I do? Disarmed, dethroned, +And fallen: in this man absorbed, as in +A sepulcher! His cloak becomes my shroud: +My people mourn for me as for the dead. +I am resolved: those two boys shall not die! +The joy of living is a heavenly gift. + [_After reflection._ +God, who knows where we go, can ope the tomb; +A king cannot. Back to their families +I give them; that old man, that fair young girl, +Will bless me. It is said: I've signed it--I, +The King. The Cardinal will be furious, +But it will please Bellegarde. + +L'ANGELY. + + One can, sometimes, +Be kingly by mistake. + + + + +_ACT V_ + +THE CARDINAL + +Scene.--_Beaugency. The tower of Beaugency. A courtyard; the tower in +the background, all around a high wall. To the left, a tall arched door; +to the right, a small rounded door in the wall; near the door a stone +table and stone bench_ + + +SCENE I + +_Some Workmen. They are pulling down a corner of the back wall on the +left. The demolition is almost completed_ + +FIRST WORKMAN (_working with his pickax_). + + It's very hard! + +SECOND WORKMAN (_working_). + +Deuce take this heavy wall we're pulling down! + +THIRD WORKMAN (_working_). + +Saw you the scaffold, Peter? + +FIRST WORKMAN. + + Yes, I did. + +[_He goes to the large door and measures it._ + +The door is narrow; never will the litter +Of the Lord Cardinal go through it. + +THIRD WORKMAN. + + Bah! +Is it a house? + +FIRST WORKMAN (_with affirmative gesture_). + + With great long curtains. Yes. +It takes some four and twenty men on foot +To carry it. + +SECOND WORKMAN. + + I saw the great machine, +One night when it was very dark. It looked +Just like Leviathan in shadow-land. + +THIRD WORKMAN. + +What does he come here with his sergeants for? + +FIRST WORKMAN. + +To see the execution of those two young men. +He's sick. He needs to be amused. + +SECOND WORKMAN. + + To work! + +[_They resume work; the wall is about torn down._ + +Saw you the scaffold, all in black? That comes +Of being noble! + +FIRST WORKMAN. + + They have everything. + +SECOND WORKMAN. + + I wonder +If they would build a black scaffold for us. + +FIRST WORKMAN. + +What have those young men done that they should die? +Hein? Do you understand, Maurice? + +THIRD WORKMAN. + + I don't. +It's justice. + +[_They continue their work. Laffemas enters; The Workmen are silent. +He comes from the back as though he were coming from an inside court of +the prison; stops beside The Workmen, appears to examine the breach, +and gives them some directions. When the space is opened, he orders +them to hang black cloth across it, which covers it entirely; then he +dismisses them. At almost the same moment Marion appears, dressed in +white, and veiled; she enters through the great door, crosses the court +rapidly, and runs to the grating of the small door, at which she knocks. +Laffemas follows slowly in the same direction. The grating is opened; +The Turnkey appears._ + + +SCENE II + +Marion, Laffemas + +MARION (_showing a parchment to The Turnkey_). + + Order of the King! + +THE TURNKEY. + + You can't +Enter, madame. + +MARION. + + What! + +LAFFEMAS (_presenting a paper to The Turnkey_). + + Signed, the Cardinal! + +THE TURNKEY. + +Enter. + +[_When about to enter, Laffemas turns, looks at Marion a moment, +then approaches her. The Turnkey shuts the door._ + +LAFFEMAS (_to Marion_). + + You here? This questionable place! + +MARION. + +I am. [_Triumphantly showing the parchment._ + I have the pardon! + +LAFFEMAS (_showing his_). + + Yes? I have +The revocation! + +MARION (_with a cry of horror_). + + Mine was yesterday-- +The morning! + +LAFFEMAS. + + Mine, last night! + +MARION (_with hands over her eyes_). + + My God! No hope! + +LAFFEMAS. + +Hope is a flash of lightning which deceives. +The clemency of kings is a frail thing; +It comes with lagging steps and goes with wings. + +MARION. + +The King was moved with pity for their fate! + +LAFFEMAS. + +What can the King against the Cardinal? + +MARION. + +Oh, Didier, our last hope's extinguished now! + +LAFFEMAS (_low_). + +Not--not the last! + +MARION. + + Just Heaven! + +LAFFEMAS (_drawing near to her_). + + There is here +A man whom one short word from you could make +Happier than any king, and mightier too! + +MARION. + +Away! + +LAFFEMAS. + + Is that your answer? + +MARION (_haughtily_). + + I beg you! + +LAFFEMAS. + +How fleeting are the whims of the fair sex! +You were not always, madame, so severe! +Now that 'tis question of your lover's life-- + +MARION (_without looking at him, turning to the small door, +her hands clasped_). + +If it would save your life, I could not go +Back to that infamy. My soul's grown pure +At touch of you, my Didier; sin is shamed. +Your love gives back my lost virginity. + +LAFFEMAS. + +Well, love him! + +MARION. + + Ah, he pushes me from crime +To vice! Oh, monster, go! Let me keep pure! + +LAFFEMAS. + +There is but one thing left for me to do! + +MARION. + +What is it? + +LAFFEMAS. + + I can show you--let you see. +It is to-night. + +MARION (_trembling all over_). + + Oh, heaven! this night! + +LAFFEMAS. + + This night +The Cardinal, in litter, will attend. + +[_Marion is buried in a deep and painful reverie. Suddenly she passes +her two hands over her brow and turns, as if wild, toward Laffemas._ + +MARION. + +How could you manage their escape? + +LAFFEMAS (_low_). + + You mean? +Two of my men could guard this place, by which +The Cardinal passes-- + [_He listens at the small door._ + I think some one comes! + +MARION (_wringing her hands_). + +You'll save him? + +LAFFEMAS. + + Yes. + [_Low._] To tell you in this place-- +The walls have echoes--elsewhere. + +MARION (_with despair_). + + Come! + +[_Laffemas goes toward the large door and signs to her to follow. She +falls on her knees, turned toward the grating of the prison; then she +arises with a convulsive effort and disappears through the great door +after Laffemas. Saverny and Didier enter, surrounded by Guards._ + + +SCENE III + +_Didier, Saverny. Saverny, dressed in the latest fashion, enters +gayly and petulantly. Didier is in black, walks slowly, is very pale. +A jailer accompanied by Halberdiers conducts them. The Jailer places +the two Halberdiers as sentinels beside the black curtain. Didier +sits, silently, on the stone bench_ + +SAVERNY (_to The Jailer, who opens the door for him_). + + Thank you. +The air is very good! + +THE JAILER (_low, and drawing him aside_). + + My lord, two words with you. + +SAVERNY. + +Four, if you like. + +THE JAILER (_lowering his voice still more_). + + Will you escape? + +SAVERNY (_eagerly_). + + Speak! How? + +THE JAILER. + +That's my affair. + +SAVERNY. + +Truly? [_The Jailer nods his head._ + Lord Cardinal, +You meant to keep me from attending balls, +But it appears I am to dance again. +The pleasant thing that life is! + [_To The Jailer._] When, my friend? + +THE JAILER. + +To-night, as soon as it is dark. + +SAVERNY. + + My faith! +I shall be charmed to leave these quarters. Whence +Comes this assistance? + +THE JAILER. + + Marquis de Nangis. + +SAVERNY. + +My good old uncle! + [_To The Jailer._] 'Tis for both, I hope! + +THE JAILER. + +I can save only one! + +SAVERNY. + + For twice as much? + +THE JAILER. + +I can save only one! + +SAVERNY (_tossing his head_). + + Just one? + [_Low to The Jailer._] Then listen; +Good jailer, that's the one to save! + [_Indicating Didier._ + +THE JAILER. + + You jest! + +SAVERNY. + +I do not! He's the one! + +THE JAILER. + + What an idea! +Your uncle wants to save you, not save him. + +SAVERNY. + +It's settled? Then prepare two shrouds at once. + +[_Turns his back on The Jailer, who goes out, astonished. A +Registrar enters._ + +We can't be left alone an instant--strange! + +REGISTRAR (_saluting the prisoners_). + +The royal councilor of the Great Chamber +Is close at hand. + [_Salutes them again and exits._ + +SAVERNY. + + 'Tis well! [_Laughing._ + Annoying luck! +Twenty years old--September--and to die +Before October! + +DIDIER (_motionless at front of stage, holding the portrait in his +hand, and as if absorbed in a deep study of it_). + + Come, look at me well! +Eyes in my eyes: thus. You are beautiful! +What radiant grace! Hardly a woman, you! +No: much more like an angel. God Himself +When He formed that divinely honest look +Put much fire in it but more chastity. +That childish mouth, pushed open by sweet hopes, +Throbs with its innocence. + +[_Throwing the portrait violently to the ground._ + + Why did that peasant +Take me unto her breast? Why not have dashed +My head against the stones? What did I do +Unto my mother to be cursed with birth? +Why, in that misery, it may be crime, +Which forced her to abandon her own blood, +Had she not motherhood enough to choke +Me in her arms? + +SAVERNY (_returning from back of court_). + + The swallows fly quite low; +'Twill rain to-night. + +DIDIER (_without hearing him_). + + A faithless, a mad thing, +A woman is: inconstant, cruel, deep, +And turbulent as is the ocean. Ah, +Upon that sea I trusted all my fortune! +In all the vast horizon saw one star! +Well! I am shipwrecked! Nothing's left but death. +Yet I was born good-hearted: might have found +The spark divine within me by-and-by. +Fair looked the future! Oh, remorseless woman, +Did you not shrink in face of such a lie, +Since to your mercy I trusted my soul? + +SAVERNY. + +Forever Marion! You've strange ideas +About her! + +DIDIER (_without heeding him, picks up the picture and fixes his eyes +upon it_). + + Down 'mongst the degraded things +I must throw you, oh, woman who betrays! +A demon, with eyes touched by angels' wings. + [_Puts it back into his breast._ +Come back; here is your place! + [_Approaching Saverny._] A curious thing! +That portrait is alive; I do not jest. +While you were sleeping there so peacefully +It gnawed my heart all night. + +SAVERNY. + + Alas! poor friend. +We'll talk of death. + [_Aside._] It comforts him, although +I find it rather sad. + +DIDIER. + + What did you say? +I have not listened. Since I heard that name +I have been stupefied. I cannot think: +I can't remember, cannot hear nor see! + +SAVERNY (_taking hold of his arm_). + +Death, friend! + +DIDIER (_joyfully_). + + Oh, yes! + +SAVERNY. + + Let's talk about it. + +DIDIER. + + Yes! + +SAVERNY. + +What is it, after all? + +DIDIER. + + Did you sleep well +Last night? + +SAVERNY. + + No, badly, for my bed was hard. + +DIDIER. + +When you are dead, your bed will be much harder, +But you will sleep extremely well--that's all. +They've made hell splendidly; but by the side +Of life, it's nothing. + +SAVERNY. + + Good! My fears are gone! +But to be hanged! That certainly is bad. + +DIDIER. + +You're getting death; don't be an egotist. + +SAVERNY. + +You can be satisfied; but I am not. +I'm not afraid of death--that is no boast-- +When death is death, but on the gallows! + +DIDIER. + + Well, +Death has a thousand forms--gallows are one. +That moment is not pleasant when the rope +Puts out your life as one puts out a flame, +Choking your throat to let your soul fly up; +But, after all, what matter? If all's dark, +If only all this earth is hidden well, +What matter if a tomb lies on one's breast? +What matter if the night-winds howl and blow +About the strings of flesh crows tore from you +When you were on the gibbet? What care you? + +SAVERNY. + +You're a philosopher. + +DIDIER. + + Yes, let them rave. +Let vultures tear my flesh, let worms consume, +As they consume all, even kings; my body +Is what's concerned, not I. What do I care? +When sepulchers shut down our mortal eye, +The soul lifts up the mighty mass of stone +And flies away-- + +[_A Councilor enters, preceded and followed by Halberdiers in black._ + + +SCENE IV + +_The same. Councilor of the Great Chamber, in full dress, The +Jailer, Guards_ + +THE JAILER (_announcing_). + + The Councilor of the King! + +COUNCILOR (_saluting Saverny and Didier in turn_). + +My mission's painful and the law severe-- + +SAVERNY. + +I understand: there is no hope! Speak, sir! + +COUNCILOR (_unfolds a parchment and reads_). + +"We, Louis, King of France and of Navarre, +Reject appeals made by these men condemned, +But moved by pity, change the punishment +And order them beheaded." + +SAVERNY (_joyfully_). + + God be praised! + +COUNCILOR (_saluting them once more_). + +You are to hold yourselves in readiness; +It will take place to-day. + [_He salutes and prepares to exit._ + +DIDIER (_who has remained in the same thoughtful attitude, to Saverny_). + + As I was saying, +After this death, although the corpse be mangled, +Though every limb be stamped with hideous wounds, +Though arms be twisted, broken every bone, +Though through the mire the body has been dragged, +From out that putrid, bleeding, awful flesh +The soul shall rise, unstained, untouched, and pure. + +COUNCILOR (_coming back, to Didier_). + +'Tis well to occupy yourselves with such +Great thoughts. + +DIDIER (_gently_). + + Please do not interrupt me, sir. + +SAVERNY (_gayly to Didier_). + +No gallows! + +DIDIER. + + Order of the fête is changed, +I know. The Cardinal travels with his headsman, +And he must be employed; the ax will rust. + +SAVERNY. + +You're cool about it, yet the stake is great. +[_To The Councilor._] Thank you for such good news. + +COUNCILOR. + + I wish 'twere better! +Good sir, my zeal-- + +SAVERNY. + + Excuse me. What's the hour? + +COUNCILOR. + +At nine o'clock to-night. + +DIDIER. + + I hope the sky +Will be as dark as is my soul. + +SAVERNY. + + The place? + +COUNCILOR (_indicating the neighboring court_). + +Here in the court. The Cardinal will come. + +[_Councilor exits with his escort. The two prisoners remain alone. Day +begins to fade. The halberds of the two sentinels, who silently +promenade before the breach, are all that can be seen._ + +DIDIER (_solemnly, after a pause_). + +At this portentous hour we must reflect +Upon the fate awaiting us. Our years +Are equal, though I'm older far than you. +It is but just, therefore, that mine should be +The voice to cheer and to exhort you, since +I am the cause of all your misery. +'Twas I who challenged you. You were content +And happy: 'twas enough for me to pass +Across your life to ruin it. My fate +Pressed down upon yours 'til it crushed it. Now, +Together, we are soon to face the tomb. +We'll take each other's hand-- + [_Sound of hammering._ + +SAVERNY. + + What is that noise? + +DIDIER. + +It is our scaffold which they're building, or +Our coffins they are nailing. + +[_Saverny sits on the stone bench._ + + When the hour +Has tolled, sometimes the heart of man gives way. +Life holds us in a thousand secret ways. + [_A bell strikes._ +I think a voice is calling to us. Hark! + [_Another bell._ + +SAVERNY. + +The hour is striking. + [_A third bell._ + +DIDIER. + + Yes, the hour! + [_A fourth bell._ + +SAVERNY. + + In chapel! + [_Four more bells._ + +DIDIER. + +It is a voice that calls us, just the same. + +SAVERNY. + +Another hour! + +[_He leans his elbows on the stone table and drops his head on his +hands. The Guard is changed._ + +DIDIER. + + My friend, do not give way! +Don't falter on this threshold we must cross. +The tomb they're fitting up for us is low, +And won't permit the entrance of a head. +Let's go to meet them with a fearless tread. +The scaffold can afford to shake, not we. +They claim our heads; and since no fault is ours, +We'll bear them proudly to the fatal block. + +[_Approaches Saverny, who is motionless._ + +Courage! + +[_Touches his arm and finds he is asleep._ + + Asleep! While I've been preaching courage +This man has slept! What is my bravery +Compared to his? Sleep on, you who can sleep. +My turn will come--provided all things die, +That nothing of the heart survives within +The tomb, to hate what it has loved too much. + +[_It is night. While Didier has become absorbed in his thoughts, +Marion and The Jailer enter through the opening in the wall; The +Jailer precedes her. He carries a dark-lantern and a bundle, both of +which he places on the ground, then advances cautiously toward Marion, +who has remained standing on the threshold, pale, motionless, +half-wild._ + + +SCENE VI + +[The scenes are mis-numbered in the book and skip from the number IV +to the number VI in Act V. (note of etext transcriber)] + +_The same._ Marion, The Jailer + + +THE JAILER (_to Marion)._ + +Be sure to come at the appointed hour. + +[_Goes up stage; during the rest of this scene he continues to walk up +and down at the back._ + +MARION (_advances with tottering steps as if absorbed in some +desperate thought. Every now and then she draws her hand across +her face as if to rub off something_). + +His lips, like red-hot iron, have branded me! + +[_Suddenly she discovers Didier, gives a cry, runs and throws herself +breathless at his feet._ + +Didier--Didier! + +DIDIER (_roused with a start_). + + Here, Marion! My God! +[_Coldly._] 'Tis you? + +MARION. + + Who should it be? Oh, leave me here-- +Here at your feet! It is the place I love! +Your hands, your dear loved hands, give them--your hands! +Oh, they are wounded! Those harsh chains did that. +The wretched creatures! But I'm here--you know-- +Oh, it is terrible! [_She weeps; her sobs are audible._ + +DIDIER. + + Why do you weep? + +MARION. + +Why? Didier, I'm not weeping! No, I laugh! + [_She laughs._ +We'll soon escape from here! I laugh. I'm happy. +You will live; the danger's passed. + +[_She falls again at Didier's feet and sobs._ + + My God! +All this is killing me! I'm broken--crushed. + +DIDIER. + +Madame-- + +MARION (_rises, without hearing him, and gets the bundle and brings +it to him_). + + Now hurry! We have not much time! +Take this disguise. I've bribed the sentinels. +We'll leave Beaugency without being seen. +Go down that street, at the wall's end, out there! +The Cardinal will come to see them execute +His orders; we can't lose an instant now. +The cannon will be fired when he arrives, +And we'll be lost if we should still be here. + +DIDIER. + +'Tis well! + +MARION. + + Quick! hurry! Didier, you are saved! +To be free! Didier, how I love you--God! + +DIDIER. + +You say a street where the wall ends? + +MARION. + + I do. +I saw it. I've been there. It is quite safe. +I saw them close up the last window, too. +It may be we shall meet some women, but +They'll think you're just a passer-by. Come, love; +When you are far off--please put on these things-- +We'll laugh to see you thus disguised. Come, dear! + +DIDIER (_pushing the clothes aside with his foot_). + +There is no hurry. + +MARION. + + Death waits at the door. +Fly! Didier! Since I've come! + +DIDIER. + + Why did you come? + +MARION. + +To save you! What a question to ask me! +Why such a freezing tone? + +DIDIER (_with a sad smile_). + + Ah, well! We men +Are often senseless. + +MARION. + + We are losing time. +The horses wait. What you have in your mind, +You'll tell me afterward. We must fly now. + +DIDIER. + +Who is that man there watching us? + +MARION. + + The jailer. +He's safe; I bribed him, as I did the guard. +Do you suspect them? You have such an air. + +DIDIER. + +It's nothing. We're so easily deceived. + +MARION. + +Come! Each lost moment chills me to the heart. +I seem to hear the tread of that great crowd. +Hasten, my Didier--on my knees--oh, fly! + +DIDIER (_indicating Saverny, asleep_). + +Tell me which one of us you want to save. + +MARION (_overcome for a moment_). + +[_Aside._] Gaspard is generous: he would not tell. +[_Aloud._] Does Didier speak to his beloved thus? +My Didier, what have you against me? + +DIDIER. + + Naught. +Lift up your face and look me in the eyes. + +[_Marion, trembling, fixes her eyes on him._ + +It is a perfect likeness! Yes. + +MARION. + + My love, +I worship you, but come! + +DIDIER. + + Don't turn away! + [_He looks at her fixedly._ + +MARION (_terrified at his look_). + +[_Aside._] The kisses of that man, he sees them! God! +[_Aloud._] You have a secret, something against me! +It hurts you! Tell me all about it, dear. +You know we often make things worse by thinking, +And too late find it out; then we regret. +I had my share in all your thoughts, love, once! +Speak, are those days for evermore gone by? +Do you not love me now? Have you forgot +My little room at Blois? Forgotten how +We loved each other, till the world was lost? +Sometimes you grew uneasy; then I said, +"If any one should see him!" Oh, 'twas fine! +But one day has destroyed it all. You've said +A thousand times, in words that burned my soul, +I was your love, I knew your secrets, I +Could make you anything I chose. What have +I ever asked? I've always thought with you! +This time, oh, yield to me! It is your life +I'm pleading for. My Didier, hark to me. +Alive or dead, I swear to follow you. +All things with you, love, will be sweet to me-- +To fly, or die upon the scaffold. What! +You push me back? You shall not! Leave your hand, +I want it. My poor brow, it does no harm +To rest it on your knees. I am so tired; +I ran so fast to come! What would they say, +The people I knew once, to see me now? +I was so gay, so merry; now I weep! +What is it that you have against me? Speak! +Oh, shame! You must let me lie at your feet. +It's very cruel of you not to say +One single word. When we have thoughts, we speak! +'Twould be more merciful to stab me, love! +See, I have dried my tears, and I am smiling. +You smile too. Oh, if you don't smile at me, +I will not love you! I have always done +Just what you wanted; now it is your turn. +These chains are what have chilled your soul. Love, smile +And speak to me, and say "Marie." + +DIDIER. + + "Marie" +Or "Marion"? + +MARION (_falls annihilated at his feet_). + + Didier, be merciful! + +DIDIER (_with terrible tone_). + +Here, no one finds an entrance easily. +Prisons of state are guarded night and day, +The doors are iron, walls twenty cubits high; +To open these remorseless doors, madame, +To whom here did you prostitute yourself? + +MARION. + +Who told you? + +DIDIER. + + No one; but I understand. + +MARION. + +Didier, I swear by every hope divine +It was to save you, tear you from this place; +To melt the executioner--to save you-- +Don't you hear? + +DIDIER (_folding his arms_). + + I thank you! To descend +As low as that! To have no shame, no soul! +Oh, madame! can one be so infamous? + +[_Crossing the court with a great cry of rage._ + +Who is this trader in disgrace and vice, +Who puts a price like that upon my head? +Where is the jailer, where the judge, the man?-- +That I may crush him as I crush this thing. + +[_He is about to break the portrait in his hands, but he stops, and +beside himself, continues._ + +The judge? Yes, gentlemen, make laws and judge! +What matters it to me if the false weight +Which swings your vile scales to this side or that +Be made of woman's honor or man's life? +[_To Marion._] Go to your lover! + +MARION. + + Do not treat me thus! +Another word of scorn and I fall dead +Here at your feet. If ever love was true +And strong and pure, mine was. If any man +Was ever worshiped by a woman, you +Have been by me. + +DIDIER. + + Hush! Do not speak! I might, +For sorrow, have been born a woman too. +I might have been as infamous as you. +I might have sold myself, have given my breast +To any passer-by, as place for rest. +But if there came to me, in his frank way, +An honest man, filled with the love of truth, +If I had met a heart insane enough +To keep its vain illusions all these years, +Oh, sooner than not tell that honest man +"I'm this," sooner than charm and dazzle him, +Sooner than fail to warn him that my eyes +So candid and my lips so pure were lies, +Sooner than be perfidious and base like that, +I'd want to dig my grave with my own hands. + +MARION. + +O God! + +DIDIER. + + How you would laugh if you could see +The picture that my heart painted of you! +How wise you were to shatter it, madame! +There you were chaste and beautiful and pure! +What injury has this poor man done you, +Who loved you on his bended knees? + +[_Presenting portrait to her._ + + Perhaps +This is a fitting time to give you back +This pledge of love ardent and true. + +MARION (_turning away with a cry_). + + Oh, shame! + +DIDIER. + +Did you not have it painted just for me? + +[_He laughs, and dashes the locket to the ground._ + +MARION. + +Will some one, out of pity, kill me now? + +THE JAILER. + +Time's passing. + +MARION. + + Yes, it flies; and we are lost. +Didier, I've not the right to say a single word. +I am a woman to whom naught is due. +You have rebuked and cursed me: you did well! +I merit still more hate and shame. You've been +Too kind; my broken, bruised heart is grateful. +But the remorseless hour draws near. Away! +The headsman you forget, remembers you. +I've planned it all. You can escape. Now, listen-- +My God! do not refuse. You know how much +It costs me. Hate me, strike me, curse me, leave +Me to my shame, disown me, walk upon +My bleeding heart--but fly! + +DIDIER. + + Fly where? From whom? +There's naught but you to fly from in this world; +And I escape you, for the grave is deep. + +THE JAILER. + +The hour is passing. + +MARION. + + O my Didier, fly! + +DIDIER. + +I will not! + +MARION. + + Just for pity! + +DIDIER. + + Pity! why? + +MARION. + +To see you taken, bound! To see you--_there_! +Only to think it makes me die of horror! +Come! I will be a servant unto you. +Come! Take me, when I have redeemed myself, +Just to have something underneath your feet. +The one you called "a wife" in times of trial-- + +DIDIER. + +A wife! [_Cannon sounds in the distance._ + This makes of you a widow, then! + +MARION. + +Didier! + +THE JAILER. + + The hour is past. + +[_Rolling of drums. Enter Councilor of the Great Chamber, accompanied +by penitents bearing torches, and by Executioner. A crowd of soldiers +and people follow._ + +MARION. + + Ah, Christ! + + +SCENE VII + +_The same. Councilor, Executioner, Populace, Soldiers_ + +COUNCILOR. + + I'm ready, +Gentlemen! + +MARION (_to Didier_). + + I told you that he'd come! + +DIDIER (_to Councilor_). + +We're ready also. + +COUNCILOR. + + Which is named Gaspard, +Marquis de Saverny? + +[_Didier points to Saverny, who is asleep._ + +[_To Executioner._] Awaken him! + +EXECUTIONER (_shaking him_). + +How well he sleeps, my lord! + +SAVERNY (_rubbing his eyes_). + + Ah, how could you +Break in on such a pleasant sleep! + +DIDIER. + + 'Tis only +Interrupted, friend! + +SAVERNY (_half awake: sees Marion and salutes her_). + + Oh, I was dreaming +About you, my beauty! + +COUNCILOR. + + Have you made +Your peace with God? + +SAVERNY. + + I have, sir. + +COUNCILOR. + + It is well. +Please sign this paper! + +SAVERNY (_takes the parchment, runs over it_). + + 'Tis the _procès-verbal_. +Good! This is a most curious thing--account +Of my own death, signed with my autograph! + +[_Signs, and reads the paper again: to Councilor._ + +You have made three mistakes in spelling, sir. + +[_Takes the pen and corrects them. To Executioner._ + +You have awakened me; put me to sleep! + +COUNCILOR (_to Didier_). + +Didier! + +[_Didier approaches: Councilor gives pen to him._ + + Your name is there. + +MARION (_hiding her eyes_). + + The grewsome thing! + +DIDIER. + +I could sign nothing with intenser joy! + +[_The Guards form themselves into a line to lead them away._ + +SAVERNY (_to some one in the crowd_). + +Sir, step aside and let that young child see! + +DIDIER (_to Saverny_). + +My brother, 'tis for me you suffer death; +Let us embrace each other! [_He embraces Saverny._ + +MARION (_running to him_). + + And for me +No kisses, Didier! + +DIDIER (_indicating Saverny_). + + This is my friend, madame! + +MARION (_clasping her hands_). + +How hard you are upon me, a poor thing, +Who always on my knees to king or judge +Have begged mercy for you from every one! +Pardon of them for you; pardon of you for me! + +DIDIER (_rushes to Marion, trembling, and bursting into tears_). + +No, I cannot! The torture's horrible! +No, I have loved too much to leave her so! +It is too hard to keep a cold, impassive face +When underneath the heart is breaking down. +Come to my arms, oh, woman, come! + +[_Presses her convulsively to his heart._ + + I love you! +I'm about to die. Before them all, +It is my loftiest joy to tell you this: +I love you! + +MARION. + + Didier! + +[_Embraces her again with rapture._ + + To my heart, oh, come! +You who behold this direful tragedy, +I wonder if there's one of you who would +Refuse love unto one who'd given herself +Entirely and unceasingly to him? +Oh, I was wrong! Say, would you have me face +Eternity without a pardon from +Her lips? No! Stand by me and listen, love: +Among all womankind--and those who hear +Will prove me right by their own hearts--the one +I love, the one in whom I trust, the one +I venerate is you--is always you! +For you were kind, devoted, loving, good. +My life is almost ended. When death's near +A clearer light illuminates all things. +If you deceived me, 'twas excess of love; +And if you fell, have you not cruelly atoned? +Perhaps your mother--life's so hard--forgot +You in your cradle, as my mother did; +When you were young and helpless, perhaps they sold +Your innocence. Ah, lift up your white brow! +And listen, all of you. At such an hour +The earth is a mere shadow and the heart +Speaks true. Well, at this moment, from the height +Of the dread scaffold--and there's naught so high +When guiltless souls ascend it--here, +I say to you, Marie, angel of light, +Whose luster earth has dimmed, my love, my wife, +In God's name, before whom I soon shall stand, +I pardon you. + +MARION (_suffocated with tears_). + + Ah, Christ! + +DIDIER. + + It is your turn. +Speak now, and pardon me! + [_He kneels before her._ + +MARION. + + Didier! + +DIDIER. + + Your pardon, +Love! I was the most at fault, the most +Unkind. God has chastised you much through me. +Weep for me when I'm gone, because to have +Hurt you is such a burden to take hence +Into eternity. Don't leave it on me; +Pardon me! + +MARION (_inaudibly_). + + Have mercy on me--God! + +DIDIER. + +Just speak one word; put your sweet hands upon +My forehead. If your heart is full and you +Can't speak, please make a sign. I'm dying; you +Must comfort me. + +[_Marion places her hand on his forehead; he rises, embraces her +tenderly, with a smile of celestial joy._ + + Farewell! Come, gentlemen! +Let us move on! + +MARION (_throws herself wildly between him and the Soldiers_). + + Oh, no! Stop! This is madness! +If you think you can behead him easily, +You have forgotten I am here. Spare us! +Oh, men! oh, soldiers, judge, people! Spare us! +How do you want me to ask you? Upon +My knees? Well, here I am! Now if +In you there's anything that quivers at +A woman's voice, if God has thrown no curse +On you--don't kill him! +[_To the spectators._] Men and women--you! +When you go back into your homes to-night, +You'll find your mothers and your daughters; they +Will say to you, "It was a wicked crime. +You might have saved him, and you did not. Shame!" +Didier, they ought to know that I must follow +You! They will not kill you if they want +To keep me living! + +DIDIER. + + Let me die, Marie. +'Tis better, dear one, for my wound is deep; +It would have taken too much time to heal. +Better for me to go; but if, some time-- +You see I'm weeping too--another comes, +A happier man, more fortunate than I, +Think of your old friend sleeping in the tomb. + +MARION. + +You shall not die! Are these men all inhuman? +You must live! + +DIDIER. + + Don't ask things impossible. +No; with your bright eyes, turn, illuminate +My grave for me. Embrace me. You will love +Me better, dead. I'll hold a sacred place +In your dear memory. But if I lived, +Lived near you with my lacerated soul-- +I, who have loved no one but you--you see +It would be painful. I would make you weep. +I'd have a thousand thoughts I could not speak. +I'd seem to doubt you, watch you, worry you. +You would be most unhappy. Let me die! + +COUNCILOR (_to Marion_). + +The Cardinal will pass by soon, madame! +You can ask pardon for him then. + +MARION. + + Oh, yes! +The Cardinal is coming--that is true. +You'll see, then, gentlemen, that he will hear! +My Didier, you shall hear me talk to him! +The Cardinal! Indeed, you must be all insane, +To think such an old man--a Christian too, +The gracious Cardinal--will not be glad +To pardon you. Have you not pardoned me? + +[_Nine o'clock strikes. Didier makes sign to all to hush. Marion +listens with terror. After the nine strokes have sounded, Didier goes +and stands close to Saverny._ + +DIDIER (_to the spectators_). + +You who have come to see the last of us, +If any speak of us, bear witness all, +That without faltering we have heard the hour +Bring us its summons to eternity. + +[_The cannon sounds at the door of the tower; the black veil which +concealed the opening in the wall, falls: the gigantic litter of The +Cardinal appears, borne by twenty-four foot-guards, surrounded by +twenty other guards bearing halberds and torches: the litter is scarlet +and ornamented with the arms of the House of Richelieu. It crosses the +back of the stage slowly. Great agitation among the crowd._ + +MARION (_dragging herself up to the litter on +her knees and wringing her hands_). + +In your Christ's name! In name of all your race, +Mercy for them, my lord! + +A VOICE (_from the litter_). + + No mercy! + +[_Marion falls to the ground. The litter passes and the procession of +the condemned men follows it. The crowd rush madly after them._ + +MARION (_alone, lifts herself half way up, and drags herself along by +her hands: looking around._) + + Ah! +What did he say? Where are they gone? My love! +My Didier! No one! Not a sound! Is it +A dream--this place? the crowd?--or am I mad? + +[_The people rush back in disorder. The litter reappears in the +background on the side where it went off. Marion rises and gives a +terrible cry._ + +He's coming back! + +GUARDS (_pushing the people aside_). + + Make way! + +MARION (_erect and half-wild, pointing to the litter_). + + Look, all of you! +It is the red man who goes by! + [_She falls senseless._ + + + + + +ESMERALDA + + + + +DRAMATIS PERSONÆ + + Esmeralda. + Phoebus de Chateaupers. + Claude Frollo. + Quasimodo. + Fleur-de-lys. + Madame Aloise de Gondelaurier. + Diana. + Bérangère. + Viscount de Gif. + M. de Chevreuse. + M. de Morlaix. + Clopin Frouillefou. + The Town-Crier. + _Populace, Vagrants, Archers, etc._ + + + +ESMERALDA + + + + +_ACT I_ + +SCENE.--_The Court of Miracles. It is night. A crowd of vagrants. +Noisy dancing. Male and female beggars in different attitudes of their +profession. The King of Thune on his cask. Fires, lights, torches. In +the shadow a circle of wretched dwellings_ + + +SCENE I + +_Claude Frollo, Clopin Frouillefou, then Esmeralda, then +Quasimodo. The Vagrants_ + +CHORUS OF VAGRANTS. + +Long live Clopin! Long live the King of Thune! +Long live the rogues of Paris. +Let us strike our blows at dusk-- +The hour when all the cats are drunk. +Let us dance! Defy Pope and bull, +And let us laugh in our skins, +Whether April wets or June burns +The feathers in our caps. +Let us smell from afar +The shot of the avenging archer, +Or the bag of money which passes +On the back of the traveler. +In the light of the moon, +We will go dance with the spirits. +Long live Clopin, King of Thune! +Long live the rogues of Paris! + +CLAUDE FROLLO (_apart behind a pillar in a corner of the stage. He is +covered with a long cloak which hides his priestly garb_). + +In the midst of this infamous band +What matters the sigh of a soul? +I suffer! Oh, never did fiercer flame +Burn in the bowels of a volcano. [_Esmeralda enters, dancing._ + +CHORUS. + +There she is! There she is! It is she--Esmeralda! + +CLAUDE FROLLO (_aside_). + + It is she! oh, yes--'tis she! + Wherefore, relentless fate, + Made you her so beautiful, + Me--so unfortunate? + +[_She reaches the center of the stage. The Vagrants form an admiring +circle around her._ + +ESMERALDA. + + An orphan am I, + Child of woe, + To you I turn + And flowers throw! + In my wild joy + Sad sighs abide; + I show a smile, + The tears I hide. + + Poor girl--I dance + Where brooklets run, + As chirp the birds + My song flows on: + I am the dove + Which, hurt, must fall; + Over my cradle + Hangs death's pall. + +CHORUS. + + Young girl, dance on! + More gentle you make us. + Take us for family, + And play with us, + As stoops the nightingale + Unto the sea, + Teasing its waves + To ecstasy. + + 'Tis the young girl-- + Child of woe, + When beams her eye + Grief must go. + She's like the bee + Which trembling flies + To the flower's heart, + Its Paradise. + + Young girl, dance on! + More gentle you make us. + Take us for family, + And play with us! + +CLAUDE FROLLO (_aside_). + + Tremble, young girl-- + The priest is jealous. + +[_Claude attempts to draw near to Esmeralda; she turns away from him +with a kind of horror. The procession of the Pope of Fools enters. +Torches, lanterns and music. In the middle of the procession, upon a +litter surrounded with candles, Quasimodo, decked with cope and miter, +is carried._ + +CHORUS. + +Salute him, clerks of Vasoche! +Shell-heaps, lubbers, beggars! +Salute him, all of you! He comes. +Behold the Pope of Fools! + +CLAUDE FROLLO (_perceiving Quasimodo, and +starting toward him with a gesture of anger_). + +Quasimodo! What a strange part to play! +Profanation! Here--Quasimodo! + +QUASIMODO. + +Great God! what do I hear? + +CLAUDE FROLLO. + +Come here, I tell you. + +QUASIMODO (_jumping from the litter_). + +Here I am! + +CLAUDE FROLLO. + +Be anathematized! + +QUASIMODO. + +God! it is himself! + +CLAUDE FROLLO. + +Outrageous audacity! + +QUASIMODO. + +Moment of terror. + +CLAUDE FROLLO. + +To your knees, traitor! + +QUASIMODO. + +Pardon me, Master! + +CLAUDE FROLLO. + +No! I am a priest. + +[_Claude Frollo tears off Quasimodo's pontifical ornaments, and +crushes them underfoot. The Vagrants begin to murmur; they form +menacing groups around him; he looks at them angrily._ + +THE VAGRANTS. + +He threatens us, +O comrades! +Here in this place, +Where we reign. + +QUASIMODO. + +What means the audacity +Of these robbers? +They menace him, +But we shall see! + +CLAUDE FROLLO. + +Race unclean, +You menace me. +Robbers--Jews-- +But we shall see! + +[_The anger of The Vagrants bursts forth._ + +THE VAGRANTS. + +Stop! stop! stop! +Down with the mar-joy! +He shall pay for it with his head; +In vain he defends himself. + +QUASIMODO. + +Have respect for his head. +Let every one cease, +Or I change this festival +To a bloody battle. + +CLAUDE FROLLO. + +It is not about his head +That Frollo is troubled. + [_Puts his hand on his heart._ +There is the tempest, +There is the battle! + +[_At the moment when The Vagrants' fury has reached its highest pitch, +Clopin Frouillefou appears at the back of the stage_ + +CLOPIN. + +Who in this infamous den +Dares to attack my lord the Archdeacon, +And Quasimodo, bell-ringer +Of Notre Dame? + +THE VAGRANTS (_subsiding_). + +It is Clopin, our King! + +CLOPIN. + + Clowns! Be off! + +THE VAGRANTS. + +We must obey! + +CLOPIN. + + Leave us! + +[_The Vagrants retire to their hovels. The Court of Miracles appears +deserted. Clopin approaches Claude cautiously._ + + +SCENE II + +Claude Frollo, Quasimodo, Clopin Frouillefou + +CLOPIN. + +What purpose brings you to this orgy? +Has your lordship any orders to give me? +You are my master in sorcery; +Speak--I will do all. + +CLAUDE FROLLO (_grasping Clopin's arm excitedly, and dragging him to +the front of the stage_). + + I have come to end all. +Listen! + +CLOPIN. + + My lord! + +CLAUDE FROLLO. + + I love her more than ever. +You behold me quivering with love and with anguish. +I must have her to-night. + +CLOPIN. + +You will see her pass by here--in a moment; +It is the way to her home. + +CLAUDE FROLLO (_aside_). + +Oh! Hell has hold of me! + [_Aloud._] Soon--you say? + +CLOPIN. + + Upon the instant! + +CLAUDE FROLLO. + +Alone? + +CLOPIN. + + Alone. + +CLAUDE FROLLO. + + That is enough. + +CLOPIN. + +Will you wait? + +CLAUDE FROLLO. + + I wait-- +Let me have her, or let me die! + +CLOPIN. + +Can I help you? + +CLAUDE FROLLO. + + No! + +[_He motions to Clopin to leave him, after having thrown him his +purse. When he finds himself alone with Quasimodo, he draws him to the +front of the stage._ + +CLAUDE FROLLO. + +Come! I need you! + +QUASIMODO. + + It is well! + +CLAUDE FROLLO. + +For a deed that is impious, frightful, awful! + +QUASIMODO. + +You are my lord and master! + +CLAUDE FROLLO. + + Chains, death, the law-- +We brave them all. + +QUASIMODO. + + Count upon me. + +CLAUDE FROLLO (_recklessly_). + +I mean to abduct the gypsy! + +QUASIMODO. + +Master, take my blood--without telling me why! + +[_Upon a sign from Claude Frollo he retires up stage and leaves his +master down stage._ + +CLAUDE FROLLO. + +Oh, Heaven! to have given one's mind to the depths, +To have tried all the crimes of sorcery, +To have fallen lower than hell itself: +A priest, at midnight, in the dark to watch for a woman! +And to reflect that in this state in which I find my soul God sees me! + + Well! what does it matter? + Fate drags me on! + Its hand is too strong, + Its will be done! + I begin life over-- + The priest insane + Feels hope no longer, + Knows terror is vain! + Demon, who drugs me, + Give her to me; + And I, who evoked thee, + Thy slave will be-- + Receive the priest + Whose bonds are riven! + Hell with her + Will be my heaven! + Come, exquisite woman, + Your beauty I claim. + You shall own me forever-- + I swear, in God's name! + Since he--since the master + By whom love was given, + Bids me choose--me, a priest, + Between passion and heaven! + +QUASIMODO (_returning_). + +Master, the moment is at hand! + +CLAUDE FROLLO. + + Yes--the solemn hour: +It will decide my fate. Be silent! Hush! + +_CLAUDE FROLLO and QUASIMODO._ + + The night is dark, + Footsteps I hear: + In shadow does not + Some one draw near? + +[_They go to the back of the stage to listen._ + +THE WATCH (_passing behind the houses_). + + Vigilance and peace! + Whoever passes here + Must ope the eye to darkness, + To silence strain the ear. + +_CLAUDE FROLLO and QUASIMODO._ + + In shadow they come; + They make no sound: + Still let us be + While the watch goes round! + +[_The voices of the watch grow fainter._ + +QUASIMODO. + +The watch has passed! + +CLAUDE FROLLO. + +Our terror follows it. + +[_Claude Frollo and Quasimodo look anxiously at the door through +which Esmeralda must pass._ + +QUASIMODO. + + Love inspires, + Hope renders strong, + Him who watches + While sleeps the throng. + I see her come-- + Lo! she appears. + Maid divine! + Have no fears! + +CLAUDE FROLLO. + + Love inspires, + Hope renders strong, + Him who watches + While sleeps the throng. + I see her come, + Maid divine! + Lo! she appears-- + She is mine! + +[_Esmeralda enters: they throw themselves upon her and try to drag her +away: she struggles._ + +ESMERALDA. + +Help--help! To me--help! + +_CLAUDE FROLLO and QUASIMODO._ + +Hush, young maiden--hush! + + +SCENE III + +_Esmeralda, Quasimodo, Phoebus de Chateaupers, the archers of +the watch_ + +PHOEBUS (_entering at the head of a body of archers_). + +In the King's name! + +[_In the struggle Claude escapes. The archers seize Quasimodo._ + +PHOEBUS. + +Arrest him! hold him close! +Be he lord or valet! +At once--we will conduct him +To the prison Chatelet. + +[_The archers take Quasimodo up stage and off. Esmeralda, recovered +from her fright, approaches Phoebus with curiosity, mingled with +admiration, and draws him gently to the front of the stage._ + +ESMERALDA (_to Phoebus_). + +Deign to tell me +Your name, sir! +I beg you to. + +PHOEBUS. + +Phoebus, my child-- +Of the family +Of Chateaupers. + +ESMERALDA. + +Captain? + +PHOEBUS. + +Yes, my queen! + +ESMERALDA. + +Queen? oh, no! + +PHOEBUS. + +Exquisite grace! + +ESMERALDA. + +Phoebus! I like your name! + +PHOEBUS. + + Upon my soul + I have a blade + Which has, Madame, + Great havoc made. + +ESMERALDA (_to Phoebus_). + + A beautiful captain, + An officer grand, + With corselet of steel + And an air of command! + Often, kind sir, + Our hearts they break, + And only laugh + At the tears they make. + +PHOEBUS (_aside_). + + With a beautiful captain, + An officer gay, + Love hardly succeeds + In living a day. + All soldiers desire + To pluck every rose, + Joys without troubles, + Love without woes. + +PHOEBUS (_to Esmeralda_). + +A radiant spirit +Smiles at me +Through thine eyes. + +ESMERALDA. + + A beautiful captain, + An officer grand, + With corselet of steel + And an air of command! + Long watches the girl + He carelessly passed; + And the dreams he awakened + Forever may last! + +PHOEBUS. + + With a beautiful captain, + An officer gay, + Love hardly succeeds + In a living day! + It's like lightning which flashes-- + This eager desire + Which the eyes of sweet maidens + Kindle to fire! + +ESMERALDA (_standing before the Captain and admiring him_). + +My lord Phoebus! Let me see you! +Let me admire you a hundred-fold! +Oh the beautiful scarf of silk-- +Oh the fine scarf with fringe of gold! + +[_Phoebus takes it off and offers it to her._ + +PHOEBUS. + +Does it please you? + +ESMERALDA (_taking the scarf and putting it on_). + +Yes, it is beautiful! + +PHOEBUS. + +One moment! + [_He goes to her and tries to embrace her._ + +ESMERALDA (_drawing back_). + +Don't, I beg you! + +PHOEBUS (_insisting_). + +You must kiss me! + +ESMERALDA (_drawing away still more_). + +No, truly! + +PHOEBUS (_laughing_). + + A beauty + So cruel, + So haughty, + Is charming. + +ESMERALDA. + + No, beautiful captain, + In vain you plead! + Can I tell how far + A kiss might lead? + +PHOEBUS. + + I am a captain, + Why abuse me? + I want a kiss-- + Don't refuse me! +Give it me--give it, or I will take! + +ESMERALDA. + +No, leave me! I beg of you, for my sake. + +PHOEBUS. + +One kiss, one kiss--'tis nothing, you see. + +ESMERALDA. + +Nothing to you, but much to me! + +PHOEBUS. + +Look at me, dear! I am playing no part! + +ESMERALDA. + +Alas, but I cannot look into my heart! + +PHOEBUS. + +To-night love shall make an entrance there! + +ESMERALDA. + +Wherever love enters, soon follows despair. + +[_She slips out of his arms and escapes. Phoebus, disappointed, +turns to Quasimodo, whom the archers hold bound at the back of the +stage._ + +PHOEBUS. + +She escapes me, she resists me! +A gay adventure, verily! +I keep the worst of our two birds of prey-- +The owl remains; the nightingale flew away! + +[_He places himself at the head of his guard and goes out, taking +Quasimodo with him._ + +CHORUS OF THE WATCH. + + Vigilance and peace-- + Whoever passes here + Must ope the eye to darkness, + To silence strain the ear! + +[_The sound grows fainter and finally ceases._ + + + + +_ACT II_ + +Scene.--_The square of Grève. The pillory. Quasimodo is in the +pillory. Populace on the square_ + + +SCENE I + +CHORUS. + +He abducted a girl-- +What! is it possible? +Hark! how they abuse him! +Do you hear, my friends? +Quasimodo has been hunting on Cupid's domain! + +A WOMAN OF THE PEOPLE. + +He will pass through my street +On his return from the pillory; +And it is Pierrat Forterne +Who will give us the signal. + +TOWN-CRIER. + +In the King's name, whom God protect! +The man you see here, will be put +Under a strong guard, +In the pillory for one hour. + +CHORUS. + +Down with him! Down with him! +The hunchback, the deaf, the one-eyed creature + This Barabbas! +I believe, s'death! he's looking at us. +Down with the sorcerer! +He makes faces, he kicks; +He makes dogs bark in the streets. +Punish the rascal well! +Double the whip and the penalty. + +QUASIMODO. + +Drink! + +CHORUS. + + Hang him! + +QUASIMODO. + +Drink! + +CHORUS. + + Be accursed! + +[_Esmeralda, some instants ago, joined the crowd. She perceives +Quasimodo, first with surprise, then with pity. Suddenly, in the midst +of all the noise, she mounts the pillory, unfastens a little cup which +she carries on her belt, and gives a drink to Quasimodo._ + +CHORUS. + +What are you doing, beautiful girl? +Leave Quasimodo alone! +When Beelzebub roasts, +Nobody gives him water. + +[_She comes down. The archers unfasten Quasimodo and take him away._ + +CHORUS. + + He abducted a woman! + Who? This dolt! + It is terrible, it is infamous, + It is too much! + Do you hear, my friends? + Quasimodo + Dared to go hunting on Cupid's domain. + + +SCENE II + +_A magnificent drawing-room in which people are making preparations for +a festival._ Phoebus, Fleur-de-lys, Madame Aloise De Gondelaurier + +MADAME ALOISE. + +Phoebus, my future son-in-law, listen to me. I am fond of you. +Be master here, as if you were another self. +Look to it that every one is gay to-night. +And you, my daughter, come, get ready. +You will be the most beautiful at this festival, +Be also the most happy. + +[_She goes up stage and gives orders to the servants, who continue the +preparations._ + +FLEUR-DE-LYS. + +Sir, since the other week, +We have hardly seen you twice! +This festival brings you back. +How fortunate for us! + +PHOEBUS. + +Don't scold, I beg of you! + +FLEUR-DE-LYS. + +I understand. Phoebus forgets me! + +PHOEBUS. + +I swear to you-- + +FLEUR-DE-LYS. + + Don't swear! +They only swear who deceive. + +PHOEBUS. + +Forget you? What folly! +Are you not the most fair? +Am I not the most loving? + +PHOEBUS (_aside_). + + My beautiful betrothed + Is out of sorts to-day; + Suspicion is in her mind. + What a pity! + Beauties, the lovers you treat ill + Go elsewhere. + You can do more with pleasure + Than with tears. + +FLEUR-DE-LYS (_aside_). + + To betray me, his betrothed, + Who belong to him! + I, who have only him to think of + And worry about! + Ah! whether he is away or here, + What grief! + Present, he scorns my joy; + Absent, my tears. + +FLEUR-DE-LYS. + +Phoebus, the scarf that I worked for you-- +What have you done with it? I don't see it. + +PHOEBUS (_troubled_). + +The scarf? I don't know! +[_Aside._] Good God! unlucky chance! + +FLEUR-DE-LYS. + +You forgot it? + [_Aside._]To whom has he given it? +And for whom am I deserted? + +MADAME ALOISE (_coming up to them and trying to reconcile them_). + +Heavens! get married! Then you can quarrel. + +PHOEBUS (_to Fleur-de-lys_). + +No! I have not forgotten it. +I remember, I carefully folded it +And put it in an enameled box +That I had made for it. + +[_Passionately to Fleur-de-lys, who still frets._ + +I swear I love you better +Than one could love Venus herself! + +FLEUR-DE-LYS. + +Don't swear! Don't swear! +They only swear who deceive! + +MADAME ALOISE. + +Children, don't quarrel--everything is bright to-day! +Come, my daughter, you must be seen! +The guests are coming! Everything has its turn. +[_To the servants._] Light the candles and let the ball begin. +I want everything to be beautiful, to seem as bright as day. + +PHOEBUS. + +Since we have Fleur-de-lys, nothing is wanting to the ball. + +FLEUR-DE-LYS. + +Yes, Phoebus--love is wanting! [_They go out._ + +PHOEBUS (_watching Fleur-de-lys go out_). + + She speaks the truth: my heart is sad + Even when she is near-- + The one I love, the one who fills my soul-- + Alas! she is not here. + + Exquisite creature, + To you my love! + Oh, dancing shadow, + My sweet-voiced dove, + Absent, yet with me + Wherever I move! + + She's as bewildering and sweet + As is a nest 'mid rushes, + Sweet as a rosebud crowned with moss, + Sweet as the joy which sorrow hushes. + + Humble child and virgin proud, + Soul that's pure though free! + Voluptuous ardors sink abashed + Before thy chastity. + + In the dark night she comes, + An angel from the skies; + Her forehead veiled by shadows, + Flames darting from her eyes. + + I see her face forever-- + Now bright, now dark it seems; + But strangely--'tis in heaven + I see her in these dreams. + + Exquisite creature. + To you my love! + Oh, dancing shadow, + My sweet-voiced dove, + Absent, yet with me + Wherever I move! + +[_Enter several lords and ladies in gala dress._ + + +SCENE III + +_The preceding. Viscount de Gif, M. de Morlaix, M. de Chevreuse, +Madame de Gondelaurier, Fleur-de-lys, Diana, Bérangère. Ladies, +Lords_ + +VISCOUNT DE GIF. + +My salutations, noble hostesses! + +MADAME ALOISE, PHOEBUS, FLEUR-DE-LYS (_bowing_). + +Good-evening, noble viscount! +Forget all care and grief +Beneath this hospitable roof. + +M. DE MORLAIX. + +Ladies, may God send you +Health, pleasure, and happiness! + +MADAME ALOISE, PHOEBUS, FLEUR-DE-LYS. + +May Heaven return with interest +All your good wishes, my lord! + +M. DE CHEVREUSE. + +Ladies, from the bottom of my soul +I belong to you, as I do to God! + +MADAME ALOISE, PHOEBUS, FLEUR-DE-LYS. + +Kind sir, may our good Lady +Come always to your aid! + [_All the guests enter._ + +CHORUS. + + Come to the festival, come! + Page, lordship, and ladyship, come! + With flowers in your hand, + A joy-seeking band, + Come to the festival, come! + +[_The guests greet and salute each other; servants circulate among the +crowd, bearing platters laden with flowers and fruits. A group of young +girls forms itself near a window to the left. Suddenly one of them calls +to the others, and motions to them to look out of the window._ + +DIANA (_looking out_). + +Come and look! come and look, Bérangère! + +BÉRANGÈRE (_looking into the street_). + +Isn't she quick? Isn't she light? + +DIANA. + +It is a fairy or it is love. + +VISCOUNT DE GIF (_laughing_). + +Who dances in the public square? + +M. DE CHEVREUSE (_after having looked_). + +Indeed! it is the magician. +Phoebus, it is your gypsy +Whom, the other night, with valor +You saved from a robber. + +VISCOUNT DE GIF. + +Oh, yes, it is the gypsy. + +M. DE MORLAIX. + +She's as beautiful as the day. + +DIANA (_to Phoebus_). + +If you know her, tell her to come +And dance for us. + +PHOEBUS (_looking out with an absent air_). + +It might be she! + +[_To M. de Gif._] Do you think she would remember? + +FLEUR-DE-LYS (_who watches and listens_). + +Every one remembers you. +Come, call her, tell her to come up. +[_Aside._] I will see whether to believe what I am told. + +PHOEBUS (_to Fleur-de-lys_). + +You wish it? Well, let us try! + [_He motions to the dancer to come up._ + +THE YOUNG GIRLS. + +She is coming! + +M. DE CHEVREUSE. + +She has disappeared under the porch. + +DIANA. + +She has left the mob, stupefied. + +VISCOUNT DE GIF. + +Ladies, you will see the nymph of the streets. + +FLEUR-DE-LYS (_aside_). + +How quickly she obeyed that sign from Phoebus! + + +SCENE IV + +_The same. Esmeralda. The gypsy enters timidly, confused and radiant. +Movement of admiration. The crowd falls back before her_ + +CHORUS. + +Look! her brow is fair amid the fairest, +As a star would shine, surrounded by torches. + +PHOEBUS. + + Oh, creature divine! + Admiration is duty. + Of this ball she is queen, + Her crown is her beauty. + +[_He turns to Messieurs de Gif and de Chevreuse._ + + Friends, my soul is on fire. + War and death would I face, + To hold in my arms + Such bewildering grace. + +M. DE CHEVREUSE. + + She is a heavenly vision, + A dream most rare and tender, + Which, floating through earth's darkness, + Radiates celestial splendor. + Born in the public streets-- + Oh, blind caprice of fate, + To trail through muddy streams + A flower so immaculate! + +ESMERALDA (_fixing her eyes on Phoebus in the crowd_). + + It is my Phoebus, I was sure, + Just as that night I found him; + Whether in satin or in steel, + How grace and strength surround him! + Phoebus--my head is all on fire, + All burns within me, joy and pain; + My soul's consumed for lack of tears, + Just as earth yearns for rain. + +FLEUR-DE-LYS. + + How fair she is--yes, I was sure! + Jealous, indeed, I ought to be; + But yet to match that loveliness + How great must be my jealousy! + Alas! perhaps we both, foredoomed + To waste 'neath sorrow's harsh caress, + Full soon shall die--she in her flower, + I in my loneliness! + +MADAME ALOISE. + + A radiant creature, truly, + But, faith, 'tis a disgrace + That such a wretched gypsy + Should have so sweet a face. + Alas! the curious laws of fate + 'Tis not for mortal mind to know: + The serpent hides his treacherous head + Beneath the fairest flowers that grow. + +ALL (_together_). + + She has the calmness, the delight + Of radiant skies on a warm night. + +MADAME ALOISE (_to Esmeralda_). + +Come, child! My beauty, come-- +Come and dance us some new dance! + +[_Esmeralda prepares to dance, and draws from her bosom the scarf which +Phoebus gave her._ + +FLEUR DE-LYS. + +My scarf! Phoebus, you have deceived me! +My rival! Here she is! + +[_Fleur-de-lys snatches the scarf from Esmeralda, and falls in a +swoon. All the people rush angrily toward the gypsy, who flies for +protection to Phoebus._ + +ALL. + + Is it true that Phoebus loves her? + Infamous creature, go--depart! + To brave us thus in our own home, + You must have an audacious heart. + Oh! height of insolence! Retire! + Go back into the public street! + The common tradesmen, they can praise + The jumping of your low-born feet. + Away with her, away at once! + Out at the door! 'Tis a disgrace + For this degraded girl to lift + Her eyes to such a lofty place. + +ESMERALDA. + + Oh, defend me! Help! Defend me, + Save me, Phoebus, I implore thee; + For the poor forsaken gypsy, + Stands defenseless now before thee! + +PHOEBUS. + + I love her, and I love but her. + Yes! her defender I will be. + I'll fight for her, and my strong arm + Will bear my heart out valiantly. + If some one must be her protector, + I am the one--and doubt me not, + Her wrongs are mine, and who insults her + Must answer for it on the spot. + +ALL. + + What! She is what he loves! Indeed! + Away from here, away from here! + A gypsy he prefers to us; + With loving words he calms her fear. + Hush! silence! Both of you be still! + No further words of insolence. + +[_To Phoebus._] From you, 'tis too much arrogance! + +[_To Esmeralda._] From thee, too much impertinence! + +[_Phoebus and his friends protect the gypsy, who is menaced by all +the guests of Madame De Gondelaurier. Esmeralda staggers toward the +door._ + + + + +ACT III + +Scene.--_The front yard of a tavern. Tavern to the right; trees to the +left. In the back a door, and a small low wall which closes in the yard. +In the distance the roof of Notre Dame with its towers and its spire. A +dark silhouette of old Paris outlines itself against the red sunset. The +river Seine is at the base of the picture_ + + +SCENE I + +_Phoebus, Viscount de Gif, M. de Morlaix, M. de Chevreuse, and +many other friends of Phoebus, seated at tables, are drinking, and +singing; afterward Don Claude Frollo_ + +CHORUS. + + Be propitious and well-inclined, + Our Lady of Saint Lo, + To him who only water hates + Of all things here below! + +PHOEBUS. + + Give to the brave + In every place + A well-filled cellar, + A pretty face. + Happy fellow! + Help him hold + Dainty women, + Wine that's old. + + If a beauty + Of cold mien + Be unwilling, + 'Tis sometimes seen, + He jokes with her + With merry winks, + Then he sings, + Then he drinks! + + The day goes by. + Or drunk or not, + He soon embraces + His Toinotte; + Then ferocious + He goes to bed + In a cannon's mouth, + And sleeps like lead! + + And his soul, + Which often seems + To mix up women + With his dreams, + Is contented if the wind, + With its come and go, + Rocks the canvas of his tent + Gently to and fro! + +CHORUS. + + Be propitious and well inclined, + Our Lady of Saint Lo! + To him who only water hates + Of all things here below. + +[_Enter Claude Frollo, who seats himself at a table at some distance +from Phoebus, and appears at first to observe nothing that passes +around him._ + +VISCOUNT DE GIF (_to Phoebus_). + +That pretty gypsy, +What are you doing with her? + +[_Claude Frollo makes a movement of attention._ + +PHOEBUS. + +To-night, in an hour, +I have a meeting with her. + +ALL. + +Truly? + +PHOEBUS. + + Truly! + +[_The agitation of Claude Frollo increases._ + +VISCOUNT DE GIF. + +In one hour? + +PHOEBUS. + + In one moment! + Oh, love! supremest rapture! + To feel one heart holds two! + To own the woman that one loves-- + Be slave and conqueror too! + To have her soul; to have her charms, + Her song which fills with bliss; + To see her sweet eyes wet with tears, + To dry them with a kiss. + +[_While he sings, the others drink and strike their glasses._ + +CHORUS. + + 'Tis a rapture supreme, + Whatever one thinks, + To drink to one's love, + And to love what one drinks! + +PHOEBUS. + + Friends, the prettiest of all, + A grace divine, + Oh, wonder, ecstasy! + Friends, she is mine! + +CLAUDE FROLLO (_aside_). + + I bind myself to hell; + Misfortune on you dwell! + +PHOEBUS. + + Pleasure awaits us; + Exhaust without remorse + The better part of life, + Love's precious intercourse! + What matter if one dies, + When joy has passed away, + I'd give a century for an hour, + Eternity for a day. + +[_The curfew rings; the friends of Phoebus arise from the table, +replace their swords, their caps, their cloaks, and prepare to depart._ + +CHORUS. + + Phoebus, the hour is come; + It is the curfew-bell: + Hurry to your beloved; + God's blessing on you dwell! + +PHOEBUS. + + At last the hour is come; + It is the curfew-bell. + I go to my beloved; + God's blessing on her dwell! + +[_The friends of Phoebus go out._ + + +SCENE II + +_Claude Frollo, Phoebus. Claude Frollo stops Phoebus as he +is about to go out_ + +CLAUDE FROLLO. + +Captain! + +PHOEBUS. + + Who is this man? + +CLAUDE FROLLO. + +Listen to me? + +PHOEBUS. + + Make haste! + +CLAUDE FROLLO. + +Do you know the name of the one +Who awaits you at the meeting to-night? + +PHOEBUS. + + By my life, it is my beauty! + The one I love and who loves me. + My song-bird, my dancing gypsy, + My Esmeralda, it is she! + +CLAUDE FROLLO. + +It is death! + +PHOEBUS. + +Friend! First, you are an idiot; +Second, go to the devil! + +CLAUDE FROLLO. + +Listen! + +PHOEBUS. + + What do I care? + +CLAUDE FROLLO. + +Phoebus, if you cross the threshold of that door-- + +PHOEBUS. + +You are mad! + +CLAUDE FROLLO. + + You are dead! + Tremble! One of the gypsies she! + No law protects those awful places. + There love's a masquerade for hate, + Death lies concealed in their embraces. + +PHOEBUS (_laughing_). + + My dear sir, readjust your cape, + Return unto your fools' retreat! + Strange they allow you to escape! + May Esculapius, Jupiter, the Devil, + Thither conduct your straying feet! + +CLAUDE FROLLO. + + Truly they are faithless women; + Believe that the report speaks true. + Darkness strange and deep surrounds them; + Phoebus! there death waits for you! + +[_Claude Frollo's earnestness seems to trouble Phoebus, who looks +at his interrogator with anxiety._ + +PHOEBUS. + + He astounds me! + Ah, he wounds me, + In spite of myself, with doubt! + This city great + Is full of hate, + And treachery is all about! + +CLAUDE FROLLO. + + I astound him, + And I wound him, + In spite of himself, with doubt. + The fool, he fears, + And sees and hears + Nothing but treachery about. + +Believe me--my lord, avoid the siren +Who lures you to destruction. +More than one gypsy in her rage +Has stabbed a heart palpitating with love. + +[_Phoebus, whom he tries to drag along, recovers himself and pushes +him off._ + +PHOEBUS. + + Have I become a fool? + Gypsy, Jewess, or Moor, + The love that questions what she be + Is love most base and poor. + The fateful hour is come, + Unto my love I fly! + If death be but as sweet as she, + It will be fine to die! + +CLAUDE FROLLO (_holding him_). + + Consider! A gypsy! + Your folly is great. + How dare you thus rashly + Trifle with fate! + Oh, dread the false creature + Who waits in the gloom, + And do not thus wildly + Rush to your doom. + +[_Phoebus exits quickly, in spite of Claude Frollo. Claude +Frollo stands gloomy and undecided for a moment; then follows +Phoebus._ + + +SCENE III + +_A chamber. In the background, a window which opens on the river. +Clopin Frouillefou enters, bearing a torch. He is followed by several +men, to whom he makes a preconcerted sign, and places them in a dark +corner, in which they disappear; then he returns to the door and signals +to some one to come up. Don Claude appears_ + +CLOPIN (_to Claude_). + +From here you can see the captain +And the gypsy without being seen. + +[_He shows him an alcove behind some tapestry._ + +CLAUDE FROLLO. + +The men are stationed and ready? + +CLOPIN. + + They are ready. + +CLAUDE FROLLO. + +The projector of this must never be known. +Silence! take this purse. +I will give you as much more afterward. + +[_Claude Frollo hides himself in the alcove. Clopin exits with +caution. Esmeralda and Phoebus enter._ + +CLAUDE FROLLO (_aside_). + + Oh, woman adored, + Destiny's prey! + She enters in beauty, + In tears goes away. + +ESMERALDA (_to Phoebus_). + + My lord the count, + My feelings I try to hide. + My heart is filled with shame, + And filled also with pride. + +PHOEBUS (_to Esmeralda_). + + My beauty, white and red, + I beg you blush no more. + Love, entering love's domain, + Leaves fear outside the door. + +[_Phoebus makes Esmeralda sit down on the bench beside him._ + +PHOEBUS. + +Dost thou love me? + +ESMERALDA. + + I love thee! + +CLAUDE FROLLO (_aside_). + + What torture! + +PHOEBUS. + +The adorable creature! +Upon my soul, you are divine! + +ESMERALDA. + +Your lips are flatterers; +You make me feel ashamed. +I beg of you, don't come so near. + +CLAUDE FROLLO. + +They love each other. How I envy them! + +ESMERALDA. + +My Phoebus! I owe my life to you. + +PHOEBUS. + +And I--I owe my happiness to you. + +ESMERALDA. + + Be good to me! + Oh, try to be + Gentle, I entreat, + To the young maid, + Who much afraid + Trembles at your feet! + +PHOEBUS. + + Oh, my white queen, + Goddess serene, + Sovereign of beauty, + Whose bright eyes shine + With fires divine + Of passion and of duty! + +CLAUDE FROLLO. + + I wait for them; + I hark to them. + How tender she, + How handsome he! + How near their doom! + Be joyous he, + And happy she, + While I prepare their tomb! + +PHOEBUS. + + Nymph or woman, + Saint or human, + Be my wife to me! + All day I yearn, + All night I burn, + Such is my love for thee! + +ESMERALDA. + + I am woman, + I am human, + And my soul afire, + Trembles ever, + Longs forever, + As throbs a lover's lyre! + +CLAUDE FROLLO. + + Woman, wait! + My flame as great, + My blade must have its turn. + Oh! I admire + These souls afire, + And these hearts which burn! + +PHOEBUS. + + Be always white and red, my love, + And smile at our bright lot; + Smile sweet at love, which we've awaked, + And chastity, which we've forgot. + Your mouth is heaven--my heaven, love-- + My soul would cling in bliss + Upon it, love, and pray that life + Might end with one long kiss. + +ESMERALDA. + + Your voice delights my ear, love; + Your smile is sweet and free. + The laughing passion in your eyes + Benumbs and conquers me. + Your wishes are my law, love, + But I can't yield to this: + My virtue and my happiness + Might die in that long kiss! + +CLAUDE FROLLO. + + Don't let them hear your step, Death, + As near to them you creep! + My jealous hatred will keep watch + While their love falls asleep. + From out their arms so closely locked + You'll steal away their bliss! + Phoebus--your wish is granted, + You die for that long kiss! + +[_Claude Frollo rushes upon Phoebus and stabs him; then he opens +the window in the back, through which he escapes. With a great cry, +Esmeralda falls upon the body of Phoebus. The men stationed at the +corner rush forward, seize her, and seem to accuse her._ + + + + +_ACT IV_ + +Scene.--_A prison. Door in the center_ + + +SCENE I + +ESMERALDA (_alone, chained, lying upon a bed of straw_). + +What! He in the tomb and I in this cell-- + He a victim and I a prisoner! +I saw him fall! In truth, he's dead! + And this crime, this awful crime-- + They say it is my work! +The stem of our life, while yet green, is broken. +Phoebus has gone, and he shows me the way. + Yesterday they made his grave, + To-morrow they'll make mine! + +ROMANCE + + Phoebus, is there nothing left, + No help given, to those bereft + In this cruel wise-- + Neither filters, love, nor charms, + To assuage the soul's alarms, + Or reopen closèd eyes? + + God in heaven, I adore thee! + Every hour I implore thee! + Deign to end my life to-day + Or to take my love away! + + Phoebus, let us turn our wings + Toward the lights supernal, + Where all things must go at last, + Where love bides and is eternal. + On earth our bodies sleep together, + In heaven our souls will live forever! + + God in heaven, I adore thee! + Every hour I implore thee! + Deign to end my life to-day + Or to take my love away! + +[_The door opens. Claude Frollo enters, a lamp in his hand, his hood +pulled over his face: he comes and stands, motionless, in front of +Esmeralda._ + +ESMERALDA (_jumping up with terror_). + +Who is this man? + +CLAUDE FROLLO (_covered by his hood_). + +A priest! + +ESMERALDA. + +A priest! How mysterious! + +CLAUDE FROLLO. + +Are you ready? + +ESMERALDA. + +Ready for what? + +CLAUDE FROLLO. + +Ready to die. + +ESMERALDA. + +Yes. + +CLAUDE FROLLO. + +It is well. + +ESMERALDA. + +Will it be soon? Answer me, father! + +CLAUDE FROLLO. + +Do you suffer so much? + +ESMERALDA. + +Yes, I suffer. + +CLAUDE FROLLO. + +Perhaps I, who shall live to-morrow, +Suffer more than you. + +ESMERALDA. + +You? Who, then, are you? + +CLAUDE FROLLO. + +The tomb lies between us! + +ESMERALDA. + +Your name? + +CLAUDE FROLLO. + +You wish to know it? + +ESMERALDA. + +Yes. [_He lifts his hood._ + The priest! +It is the priest! O God! my feeble strength inspire! +It is indeed his brow of ice, it is his glance of fire! +'Tis he who has pursued me, remorseless, day and night; +'Twas he who killed my Phoebus, and slew my heart's delight. +Monster, from my prison, with death's cold hand on me, +I'll curse thee, till within the grave my lips shall silent be! +What have I done to thee? What is thine awful plan? +What dost thou want with me, relentless, impious man? +You hate me! + +CLAUDE FROLLO. + + I love you! + I love you--it is infamous! + Oh, shame to my priesthood! + This love, it is my soul; + This love, it is my blood! + At your feet I fall; + Hear my heart, which cries, + I prefer your tomb + Unto Paradise. + +Pity me. I love you! Your pity I implore! +For you I've sinned. Have mercy, do not curse me more! + +ESMERALDA. + +He loves me! Oh, crown of horrors! +He holds me--this horrible sorcerer! + +CLAUDE FROLLO. + +The only living thing in me +Is my love and my anguish! + Hopeless anguish, + Wretched plight! + Alas! I love her, + Painful night! + +ESMERALDA. + + Awful moment, + Cruel fright! + Heaven! He loves me, + Fearful night. + +CLAUDE FROLLO (_aside_). + +She shudders, quivers in my arms; + The priest has won his chance at last! +By night I bore her, once, away; + Now, in the day, I'll hold her fast! +Death, which follows in my train, +Will give her back to love again! + +ESMERALDA. + +Pity--pity, let me go! + Phoebus is dead; he waits above. +Alas! I tremble, I'm afraid, + I shiver at your frightful love, +E'en as the bird which, tortured, dies +Beneath the vulture's cruel eyes! + +CLAUDE FROLLO. + +Accept me, I love you! Refuse me no more! +Have pity for me, for yourself, I implore! + +ESMERALDA. + +Your prayer is an insult. + +CLAUDE FROLLO. + + Would you rather die? + +ESMERALDA. + +The body dies--the soul lives! + +CLAUDE FROLLO. + +To die is terrible! + +ESMERALDA. + +Hush! your impious words! +Your love makes death beautiful! + +CLAUDE FROLLO. + +Choose! choose! Or Claude or death! + +[_Claude falls at Esmeralda's feet in supplication. She repels him._ + +ESMERALDA. + + No, murderer, I will not! Hush! + A crime is this foul love you've nursed. + Better the tomb to which I fly-- + Be cursed amid the most accursed! + +CLAUDE FROLLO. + +Tremble, for the scaffold claims you! + You know not what awful schemes +This breast of fury has engendered; + And hell abets me in my dreams. + How I love thee! + Thy hand give, + And to-morrow + Thou shalt live! + Night benumbed + With terror's breath! + Tears for me, + For thee death! + Say, "I love thee!" + Cease thy scorning; + Thy last day + Is dawning! +Ah! since in vain I supplicate, + In vain thy hate I fight, +Farewell forever! One day more, + Then comes eternal night. + +ESMERALDA. + + Inhuman priest. + Go! I abhor thee! + His dear blood yet + Seems dripping o'er thee, + Oh, night of horror, + Night of shame! + Enough of tears; + Death I claim! + In prison I brave thee, + In chains defy! + Be thou accursed + Eternally! +Thy passion be thy punishment! +To God my love leads me: +The gates of heaven he'll open, +But hell shall close o'er thee! + +[_A jailer appears. Claude Frollo signs to him to lead out +Esmeralda. He exits while they drag forth the gypsy._ + + +SCENE II + +_The area before Notre Dame; the front of the church. The sound of bells +is heard_ + +QUASIMODO. + +My God! I love, +Except myself, +All that's here-- +The air which passes, +And which chases +Away care; +And the swallow +Who is faithful +To the old roof; +The chapels high +O'ershadowed by +The Holy Cross; +Every rose +That grows; +Every sight +Of delight! + +Sad creature, I-- +Uncouth, ill-made! +None envies me! +This is life +As it is! +Darkest night, +Bluest sky, +What matters it? +Every door +Leads to God. +Ignoble scabbard, +Noble blade; +Fair my soul +God has made. + +Ring, bells small and great-- +Ring on, ring on! +Mix well your voices, +Gruff and sweet! +In the turrets, +In the tower, +Sing your song! + +How they ring! +With all their might, +Let them hum +Day and night! +Our festival shall be +Magnificent, I swear! +Assail it fiercer yet, +The palpitating air! +The stupid peasants run, +And o'er the bridges tear! + + Let them ring, + Let them hum, + Day and night! + Every feast + Is increased + By their might! + +[_He turns toward the front of the church._ + +I saw black hangings in the chapel. +Are they dragging some misery here? +God! a presentiment! I'll not believe it! + +[_Enter Claude Frollo and Clopin without perceiving Quasimodo._ + +It is my master! I'll observe him. He is gloomy too! + +[_He hides himself in an obscure angle of the porch._ + +Oh, my mistress! Oh, Notre Dame! +Take my life! save my soul! + + + +SCENE III + +_Quasimodo hidden, Claude Frollo, Clopin_ + +CLAUDE FROLLO. + +So Phoebus is at Montfort? + +CLOPIN. + +My lord, he is not dead! + +CLAUDE FROLLO. + +Provided nothing brings him here! + +CLOPIN. + +Do not fear it; +He is too feeble yet for such a journey. +If he came, 'twould be his death. +My lord, you can feel sure +That every step would reopen his wound; +Do not fear anything this morning. + +CLAUDE FROLLO. + +Oh! let me hold her just to-day +For life or death within my power! +Hell! I'll give you all the rest, +If you grant me this one hour! +[_To Clopin._] They will soon bring the gypsy here! +You remember everything! +In the square--with your men-- + +CLOPIN. + +Yes. + +CLAUDE FROLLO. + + Keep in the shadow; +If I cry, "To me!" you come. + +CLOPIN. + +Yes! + +CLAUDE FROLLO. + + Have plenty with you! + +CLOPIN. + +If you cry, "To me!" + +CLAUDE FROLLO. + +Yes. + +CLOPIN. + + I rush to her, +I tear her from the King's men-- + +CLAUDE FROLLO. + +Yes. + +CLOPIN. + + And give her to you. + +CLAUDE FROLLO. + +Go, mix among the crowd, + And perhaps she +Will look upon the priest + More tenderly; +Then rush--rush all of you-- + +CLOPIN. + + Yes, my master! + +CLAUDE FROLLO. + +Hold yourselves close! + +CLOPIN. + + Yes. + +CLAUDE FROLLO. + +Hide your arms, +Not to excite suspicion! + +CLOPIN. + + Master, you shall see! + +CLAUDE FROLLO. + + But hell may take her quick, + With my good-will, + If now this insane creature + Refuses still! + + Destiny! Oh, fatal stroke! + Friend, I count on thee! + On this my only chance I wait + With fierce anxiety. + +CLOPIN. + + Fear nothing terrible, my lord, + Count faithfully on me, + And on this last and only chance + Rely courageously! + +[_They go out hurriedly. The populace begin to enter the square._ + + +SCENE IV + +_The populace; Quasimodo; afterward Esmeralda, and her escort; then +Claude Frollo, Phoebus, Clopin Frouillefou, priests, archers, +officers of the law_ + +CHORUS. + + To Notre Dame + Come, get a sight + Of the young woman + Who dies to-night! + + This gypsy woman + Who stabbed, they say, + The handsomest officer + In the King's pay. + + In vain did Heaven + Beauty lend her! + Is it possible-- + God defend her!-- + A soul so black, + An eye so tender! + + A frightful thing, + Human nature is so! + The poor unfortunate! + Come, let us go + To Notre Dame + To get a sight + Of the young woman + Who dies to-night! + +_The crowd increases; noise; a gloomy procession begins to appear on the +Place du Parvis. Rows of black penitents. Banners of La Miséricorde. +Torches, archers, officers of the law and the watch. The soldiers +disperse the crowd. Esmeralda appears. She wears a chemise; a rope is +around her neck; her feet are bare, and she is covered with a long black +veil of crape. Following her, come the executioners and the King's +officers. As the prisoner reaches the front of the church, a somber +chant is heard in the distance, coming from the interior of the church, +whose doors are closed._ + +CHORUS (_in the church_). + + Omnes fluctus fluminis + Transierunt super me + In imo voraginis + Ubi plorant animæ. + +[_The chant draws nearer. It bursts forth, at length, when near the +doors, which open suddenly and discover the interior of the church. It +is filled with a long procession of priests in their robes of ceremony; +banners are borne before them. Claude Frollo, in sacerdotal costume, +leads the procession. He goes toward the criminal._ + +THE PEOPLE. + +Alive to-day, to-morrow dead! +Heaven! thy wings around her spread! + +ESMERALDA. + +It is Phoebus who calls me + Unto our home eternal, +Where God will hold us in His arms, + Safe from misfortunes cruel. +Though plunged in the abyss of woe, + A joyful hope is given: +I am to die upon the earth + To be re-born in heaven! + +CLAUDE FROLLO. + +To die so young, so beautiful! + Alas! the guilty priest +Must suffer greater woe than she; + He ne'er will be released. +Oh, hapless child of sorrow, + Lost through my infamy, +You only die from off this earth, + While heaven is lost to me! + +THE PEOPLE. + +Alas! she is an infidel. + God's words, unto us spoken, +Say that in heaven for such as she + No blessed gate shall open. + +Death holds her fast, what misery! + She can escape it, never! +She dies unto the world this day, + And unto heaven forever! + +[_The procession approaches. Claude accosts Esmeralda._ + +ESMERALDA (_frozen with terror_). + +It is the priest! + +CLAUDE FROLLO (_low_). + +Yes, it is I! I love you, I entreat you! +Say but one word! 'Tis not too late; +I can yet save you! +Say, I love you! + +ESMERALDA. + + I abhor you! Go! + +CLAUDE FROLLO. + +Then die! I'll go where I can find you! + [_Claude turns to the crowd._ +We deliver this woman to the secular arm; +At this solemn moment may the breath of the Lord +Pass over her soul! + +[_As the officers of the law are about to seize Esmeralda, Quasimodo +jumps into the square, thrusts back the archers, takes Esmeralda in +his arms, and throws himself with her into the church._ + +QUASIMODO. + +Sanctuary! sanctuary! sanctuary! + +THE PEOPLE. + +Sanctuary! sanctuary! sanctuary! +Rejoice, O people! +Hail to the good bell-ringer! + Oh, destiny! + The criminal + Belongs to heaven! + The scaffold falls! + The eternal God + Instead of a tomb + Discloses the altar! + Executioners, back! + King's officers, back! + This barrier + Limits your power. + Thou hast changed + Everything here. + The angels claim her; + She belongs to God! + +CLAUDE FROLLO (_commanding silence by a gesture_). + +She is not saved! She is a gypsy! +Notre Dame can save none but Christians! +Pagans are proscribed even when clasping the altar! +[_To the King's men._] In the name of my lord the Archbishop of Paris, +I give you back this sinful woman! + +QUASIMODO (_to the archers_). + +I will defend her! I swear it. +Approach us not! + +CLAUDE FROLLO (_to the archers_). + + Do you hesitate? +Obey me, on the instant! +Tear the gypsy from this holy place. + +[_The archers advance. Quasimodo places himself between them and +Esmeralda._ + +QUASIMODO. + +Never! + [_A horseman is heard approaching. He calls out_: + Wait! [_The crowd disperses._ + +PHOEBUS (_appearing on horseback. He is pale, breathless, exhausted +as is a man who has made a long journey_). + + Wait! + +ESMERALDA. + +Phoebus! + +CLAUDE FROLLO (_aside, terrified_). + + My plot has failed. + +PHOEBUS (_leaping from his horse_). + +God be praised! I breathe +And I arrive in time! +This girl is innocent. +Behold my assassin! + [_Points to Claude Frollo._ + +ALL. + + Heavens! the priest! + +PHOEBUS. + +The priest alone is guilty, and I will prove it! +Arrest him! + +THE PEOPLE. + + Oh, wonder! [_The archers surround Claude Frollo._ + +CLAUDE FROLLO. + +God alone is Master! + +ESMERALDA. + +Phoebus! + +PHOEBUS. + + Esmeralda! + [_They fall into each other's arms._ + +ESMERALDA. + +My adored Phoebus, we shall live! + +PHOEBUS. + +Thou shalt live! + +ESMERALDA. + + For us shines happiness! + +THE PEOPLE. + +Live, both of you! + +ESMERALDA. + + Hear these joyous shouts! +At thy feet receive me, humble girl! +Heavens! thou art pale! What is the matter? + +PHOEBUS (_staggering_). + +I die! + +[_She catches him in her arms. Expectation and anxiety among the crowd._ + +Each step I took toward you, my beloved, +Reopened my wound, that was hardly healed. +I have taken your grave and given you life. +I die! Destiny has avenged thee. +My angel, I go to see +If heaven is worth thy love! +Farewell! [_He dies._ + +ESMERALDA. + +Phoebus! He dies! In an instant everything is changed! + +[_She falls upon his body._ + +I follow you into eternity. + +CLAUDE FROLLO. + +Fatality! + +THE PEOPLE. + + Fatality! + + + + + +Transcriber's Notes + +A few minor typographical errors have been silently corrected. Names of +characters have been regularized, but other variant spellings have been +left as they were printed. Page numbers have been removed from the table +of contents. + + + + + +End of Project Gutenberg's The Dramas of Victor Hugo, by Victor Hugo + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DRAMAS OF VICTOR HUGO *** + +***** This file should be named 39133-8.txt or 39133-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/9/1/3/39133/ + +Produced by Andrew Sly, Chuck Greif and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +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 Dramas of Victor Hugo + Mary Tudor, Marion de Lorme, Esmeralda + +Author: Victor Hugo + +Release Date: March 14, 2012 [EBook #39133] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DRAMAS OF VICTOR HUGO *** + + + + +Produced by Andrew Sly, Chuck Greif and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + +<div class="imgcenter" id="img00"> +<img width="364" height="611" src="images/titlepage.png" alt="" /> +</div> + +<div id="titlepage"> + +<p>THE DRAMAS<br /> + +<span style="font-size:90%">OF</span><br /> + +<span style="font-size:150%;letter-spacing:0.5ex;">VICTOR HUGO</span></p> + +<h1>MARY TUDOR<br /> + +MARION DE LORME<br /> + +ESMERALDA</h1> + +<p>Profusely Illustrated with Elegant<br /> +Wood Engravings</p> + +<p><i>VOLUME TWENTY-ONE</i></p> + +<div style="margin-top:2em;font-size:smaller;"> +<p>NEW YORK</p> + +<p class="sc">Peter Fenelon Collier, Publisher</p> +</div> +</div> + + + +<p>CONTENTS</p> + + +<p><i>VOLUME TWENTY-ONE</i></p> +<ul> + <li><a href="#play01">Mary Tudor</a></li> + + <li><a href="#play02">Marion de Lorme</a></li> + + <li><a href="#play03">Esmeralda</a></li> +</ul> + +<p>ILLUSTRATIONS</p> +<ul> +<li><a href="#img01">The Rendezvous</a> <span class="sc">Frontispiece</span></li> + +<li><a href="#img02">Marion de Lorme</a></li> +</ul> + +<div class="imgcenter" id="img01"> +<img width="371" height="624" src="images/mary3.jpg" alt="[Illustration: The Rendezvous.]" /> +</div> + + + +<h2 id="play01">MARY TUDOR</h2> + + + + +<p>DRAMATIS PERSONÆ</p> +<ul> + <li class="sc">Mary, The Queen.</li> + <li class="sc">Jane.</li> + <li class="sc">Gilbert.</li> + <li class="sc">Fabiano Fabiani.</li> + <li class="sc">Simon Renard.</li> + <li class="sc">Joshua Farnaby.</li> + <li class="sc">A Jew.</li> + <li class="sc">Lord Clinton.</li> + <li class="sc">Lord Chandos.</li> + <li class="sc">Lord Montague.</li> + <li class="sc">Master Eneas Dulverton.</li> + <li class="sc">Lord Gardiner.</li> + <li class="sc">A Jailer.</li> +</ul> +<p><i>Lords, Pages, Guards, the Executioner.</i></p> + +<p>LONDON, 1553.</p> + + + + +<p class="title">MARY TUDOR</p> + +<h3>FIRST DAY</h3> + +<p class="center">A MAN OF THE PEOPLE</p> + +<p><span class="sc">Scene.</span>—<i>Border of the Thames. A deserted strand. An old parapet in +ruins, conceals the borders of the water. To the right, a house of +mean appearance. At the corner of this house, a statuette of the +Virgin, at whose feet burns a wick in an iron lattice. In the +background, beyond the Thames, London. Two high buildings are +seen—the Tower of London and Westminster. The sun is setting</i></p> + + + +<h4>SCENE I</h4> + + +<p class="scene"><i>Several men are grouped here and there on the Strand, among whom are +<span class="sc">Simon Renard, John Bridges, Baron Chandos, Robert Clinton, Anthony +Brown, Viscount of Montague</span></i></p> + + +<p class="speaker">LORD CHANDOS.</p> + +<p>You are right, my lord, this damned Italian must have bewitched the +Queen. She can't exist without him; she lives only for him, finds +pleasure only in him, listens only to him. If a day passes without +seeing him, her eyes droop as they did when she loved Cardinal Polus, +you remember?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>She is very much in love, it is true, and, consequently, very +jealous.</p> + +<p class="speaker">LORD CHANDOS.</p> + +<p>The Italian has bewitched her.</p> + +<p class="speaker">LORD MONTAGUE.</p> + +<p>For a fact, they say that people of his nationality have philters for +that purpose.</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>The Spanish are clever at poisons which kill people, the Italians are +clever at poisons which make people fall in love.</p> + +<p class="speaker">LORD CHANDOS.</p> + +<p>Then Fabiani is Spanish and Italian, at the same time. The Queen is +in love and is ill. He has made her drink both.</p> + +<p class="speaker">LORD MONTAGUE.</p> + +<p>As to that, is he really Spanish or Italian?</p> + +<p class="speaker">LORD CHANDOS.</p> + +<p>It appears certain that he was born in Italy, in the Capitanate, and +that he was brought up in Spain. He claims to be connected with a +great Spanish family. Lord Clinton has the story at his finger-tips.</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>An adventurer—neither Spanish nor Italian, and still less English, +thank God! These men without a country have no pity on a country, +when they become powerful.</p> + +<p class="speaker">LORD MONTAGUE.</p> + +<p>Didn't you say the Queen was ill, Chandos? That does not hinder her +from leading a very gay life with her favorite!</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>A gay life! A gay life! The people weep while the Queen laughs and +the favorite is gorged. This man eats silver and drinks gold! The +Queen has given him the estates of Lord Talbot, the great Lord +Talbot! The Queen has made him Earl of Clanbrassil and Baron of +Dinasmonddy, this Fabiano Fabiani who says he belongs to the Spanish +family of Peñalver, and who lies when he says it. He is an English +peer like you, Montague, like you, Chandos, like Stanley, like +Norfolk, like myself, like the King! He has the garter, the same as +the Infante of Portugal, as the King of Denmark, as Thomas Percy, +seventh Earl of Northumberland. And what a tyrant is this tyrant who +rules us from his bed! Never did such a curse rest upon England! And +yet I have seen much—I, who am old! There are seventy new gallows at +Tyburn; the stakes are always embers and never ashes; the +executioner's ax is sharp every morning and blunted every night. +Every day some great nobleman is slaughtered; the day before +yesterday it was Blantyre, yesterday Northcurry, to-day South-Reppo, +to-morrow Tyrconnel. Next week it will be you, Chandos, and next +month it will be I. My lords, my lords, it is shameful and outrageous +that all these honest English heads should fall to please a miserable +adventurer who does not even belong to our country! It is a frightful +and unbearable thing, to think that a Neapolitan favorite can drag as +many blocks as he likes from under this Queen's bed. These two lead a +gay life, you say? By Heaven, it is infamous! Ah, they lead a gay +life, these lovers, while the headsman, at their door, makes widows +and orphans! Oh, their Italian guitar is too well accompanied by the +clank of chains! Madame Queen! you send to the chapel of Avignon for +your singers; every day in your palace, you have comedies, plays, and +a stage crowded with musicians! Upon my life, madame, less joy at +your house and less mourning at ours, if you please; fewer dancers +there, and fewer executioners here; fewer farces at Westminster, and +fewer scaffolds at Tyburn!</p> + +<p class="speaker">LORD MONTAGUE.</p> + +<p>Have a care, my Lord Clinton! We are loyal subjects! Not a word +against the Queen, everything against Fabiani.</p> + +<p class="speaker">SIMON RENARD (<i>laying his hand on <span class="sc">Lord Clinton's</span> shoulder</i>).</p> + +<p>Have patience!</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>Patience! That is easy enough for you to say, Mr. Simon Renard! You +are bailiff of Amont in Franche-Comte, subject of the Emperor, and +his embassador at London. You represent the Prince of Spain, the +Queen's future husband. Your person is sacred to the favorite. But it +is different with us. You see, for you, Fabiani is the lover; for us +he is the butcher! [<i>It is night.</i></p> + +<p class="speaker">SIMON RENARD.</p> + +<p>This man troubles me as much as you! You tremble only for your life. +I tremble for my power. That means much more. I do not talk; I act. I +feel less anger than you, perhaps, but I feel more hate. I will +destroy the favorite.</p> + +<p class="speaker">LORD MONTAGUE.</p> + +<p>Yes! but how to do it! I think of it all day.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>It is not in the daytime that the favorites of queens are made and +unmade; it is at night.</p> + +<p class="speaker">LORD CHANDOS.</p> + +<p>This night is dark and frightful.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>I find it good for what I wish to do.</p> + +<p class="speaker">LORD CHANDOS.</p> + +<p>What do you mean to do?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>You shall see. My Lord Chandos, when a woman reigns, caprice reigns. +Politics are no longer a matter of calculation then, but of chance. +You can count upon nothing. To-day does not logically bring +to-morrow. Public affairs are no longer like a game of chess, but a +game of cards.</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>That is all very well; but let us come to the point. When will you +deliver us from the favorite? Time is pressing. To-morrow Tyrconnel +will be beheaded.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>If I find the man I am looking for, to-night, Tyrconnel will sup with +you to-morrow.</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>What do you mean? What will have become of Fabiani?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Have you good eyes, my lord?</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>Yes, although I am old and the night is dark.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Do you see London on the other side of the water?</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>Yes. Why?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Look well! From here you can see the height and the depth of every +favorite's fortune—Westminster and the Tower of London.</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>Well?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>If God is with me, there is a man who at this moment is yet there +[<i>pointing to Westminster</i>], and who to-morrow, at the same time, +will be here [<i>pointing to the Tower</i>].</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>Pray God be with you!</p> + +<p class="speaker">LORD MONTAGUE.</p> + +<p>The people hate him no less than we do. What a festival will his fall +make in London!</p> + +<p class="speaker">LORD CHANDOS.</p> + +<p>We have placed ourselves in your hands, Sir Bailiff. Dispose of us. +What must we do?</p> + +<p class="speaker">SIMON RENARD (<i>indicating a house, near to the water</i>).</p> + +<p>You all see that house. It is the house of Gilbert the engraver. Do +not lose sight of it. Now go away with your people, but don't go too +far. Above all, do nothing without me.</p> + +<p class="speaker">LORD CHANDOS.</p> + +<p>It is agreed. [<i>They all exit at different sides.</i></p> + +<p class="speaker">SIMON RENARD (<i>alone</i>).</p> + +<p>The man I need is not easy to find.</p> + +<p class="staging">[<i>He exits. <span class="sc">Jane</span> and <span class="sc">Gilbert</span> enter, arm in arm; they go toward +the house. <span class="sc">Joshua Farnaby</span>, enveloped in a long cloak, accompanies +them.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene"><span class="sc">Jane, Gilbert, Joshua Farnaby</span></p> + +<p class="speaker">JOSHUA.</p> + +<p>I must leave you here, my good friends. It is midnight, and I must go +back to my post of turnkey of the Tower of London. I am not as free +as you are, you see! A turnkey is only another kind of prisoner! +Good-by, Jane! Good-by, Gilbert. Ah, my friends, how glad I am to see +you happy! When is the wedding, Gilbert?</p> + +<p class="speaker">GILBERT.</p> + +<p>In one week, isn't it, Jane?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Faith! day after to-morrow is Christmas. This is the day of good +wishes and presents. But I have nothing to wish you. It would be +impossible to wish more beauty to the bride or more love to the +bridegroom. You are fortunate.</p> + +<p class="speaker">GILBERT.</p> + +<p>Good Joshua! And you, are you not happy?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Neither happy nor unhappy. As for me, I have given up everything. +Look you, Gilbert [<i>opening his cloak and disclosing a bunch of keys +hanging to his belt</i>], prison keys always jingling at your side, talk +to you, suggest all sorts of philosophical ideas to you. When I was +young, I was like the rest—in love for a day, ambitious for a month, +mad a whole year. It was during the reign of Henry VIII. that I was +young. Strange man that Henry VIII.! A man who changed his wives as a +woman changes her dresses. He repudiated the first, had the second +beheaded, had the third's womb cut open; as for the fourth, he had +mercy on her—he sent her off; but for revenge he had the fifth's +head cut off! This isn't the story of Bluebeard I am telling you, my +beautiful Jane; it is the history of Henry VIII. In those days I +interested myself in the religious wars; I fought first for one side +and then for the other. That was the wisest thing to do. The whole +business was very ticklish. It was whether to be for or against the +Pope. The King's officers hanged those who were for, but they burned +those who were against. The neutral people—those who neither were +for nor against—they hanged them or they burned them +indiscriminately. We managed as we could. Yes, the rope; no, the +fagot. I, who am speaking to you, I smelled of burning very often, +and I am not sure that I was not un-hanged two or three times. Those +were great times; very much like the times now. The devil take me if +I know now whom I fought for or what I fought about. If people speak +to me now about Master Luther and Pope Paul III., I shrug my +shoulders. You see, Gilbert, when a man has gray hairs he shouldn't +go back to the opinions he fought for nor the women he loved when he +was twenty. The women and the opinions will seem very ugly, very old, +very paltry, very silly, very much wrinkled and out of date. Such is +my history. Now I am through with public affairs. I am no longer the +King's soldier nor the Pope's soldier; I am jailer of the Tower of +London. I don't fight any more for anybody, and I put everybody under +lock and key. I am turnkey and I am old. I have one foot in a prison +and the other in the grave. I am the one who picks up the remnants of +all the ministers and favorites who go to pieces in the Queen's +palace. It is very amusing. I have also a little child whom I love, +and you both whom I love too; and if you are happy, I am happy also.</p> + +<p class="speaker">GILBERT.</p> + +<p>If that is the case, you can be happy; can't he, Jane?</p> + +<p class="speaker">JOSHUA.</p> + +<p>I can't do anything to add to your happiness, but Jane can do +everything. You love her. I may never be able to do anything for you. +Fortunately for you, you are not high and mighty enough to ever need +the help of the turnkey of the Tower of London. Jane will pay my debt +at the same time that she pays her own, because she and I owe +everything to you. Jane was but a poor child, a forsaken orphan; you +took her home and brought her up. I was drowning in the Thames, one +fine day, and you dragged me out of the water.</p> + +<p class="speaker">GILBERT.</p> + +<p>Why do you always talk about that, Joshua?</p> + +<p class="speaker">JOSHUA.</p> + +<p>In order to tell you that our duty, Jane's and mine, is to love you. +I, as a brother; and she, not as a sister.</p> + +<p class="speaker">JANE.</p> + +<p>No, as a woman. I understand you, Joshua. [<i>She sinks back into her +reverie.</i></p> + +<p class="speaker">GILBERT.</p> + +<p>Look at her, Joshua! Is she not beautiful and attractive, and is she +not worthy of a king? If you only knew! You cannot imagine how I love +her!</p> + +<p class="speaker">JOSHUA.</p> + +<p>Be careful! It is dangerous. A woman should not be loved so much as +that. With a child, it is different.</p> + +<p class="speaker">GILBERT.</p> + +<p>What do you mean?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Nothing. I will be at your wedding next week. I hope State affairs +will leave me a little liberty then, and that everything will be +finished.</p> + +<p class="speaker">GILBERT.</p> + +<p>How? What will be finished?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Ah, these things do not interest you, Gilbert. You are in love; you +belong to the people. What do the intrigues of the high-born matter +to you, who are happy among the low-born? But since you ask me, I +will tell you that within one week, perhaps within twenty-four hours, +it is hoped that Fabiano Fabiani's place near the Queen will be +filled by another.</p> + +<p class="speaker">GILBERT.</p> + +<p>Who is Fabiano Fabiani?</p> + +<p class="speaker">JOSHUA.</p> + +<p>The Queen's lover: a very celebrated and a very fascinating +favorite—a favorite who has had his enemies' heads chopped off with +greater dispatch than a procuress can repeat an "Ave"; the best +favorite that the executioner of the Tower of London has had for ten +years. For you must know that every great lord's head that falls, +brings in ten silver crowns to the executioner—sometimes twice as +much, when the head is very distinguished. The fall of this Fabiani +is greatly desired; though, I must say, during my duties at the +Tower, it is only the bad-tempered people whom I hear find fault with +him—the discontented people; those whose heads are to fall next +month.</p> + +<p class="speaker">GILBERT.</p> + +<p>Let the wolves rend each other! What do we care about the Queen and +the Queen's favorite? Isn't it so, Jane?</p> + +<p class="speaker">JOSHUA.</p> + +<p>There is a big conspiracy against Fabiani; if he escapes, he will be +lucky. I should not be surprised if they were to strike some blow +to-night. I just saw Master Simon Renard prowling about here, very +much absorbed.</p> + +<p class="speaker">GILBERT.</p> + +<p>Who is Master Simon Renard?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Is it possible that you don't know? He is the Emperor's right hand at +London. The Queen is to marry the Prince of Spain, and Simon Renard +is his embassador to her. The Queen hates him, this Simon Renard; but +she is afraid of him, and she can't do anything to him. He has +already destroyed two or three favorites. It seems to be his instinct +to destroy favorites. He clears up the palace from time to time. He +is a shrewd and spiteful man; he knows all that goes on, and he digs +two or three subterranean rows of intrigues under every event. As for +Lord Paget—didn't you ask me who was Lord Paget?—he is a crafty +nobleman who helped to manage affairs under Henry VIII. He is a +member of the secret council. He has such an ascendency that the +other ministers do not dare to breathe in his presence—except, +however, the chancellor, my Lord Gardiner, who detests him. A violent +man, this Gardiner, and well born. As for Paget, he was nobody—a +cobbler's son. He is to be made Baron Paget of Beaudesert in +Stafford.</p> + +<p class="speaker">GILBERT.</p> + +<p>How glibly he tells all these things, this Joshua.</p> + +<p class="speaker">JOSHUA.</p> + +<p>My faith! It's from hearing the prisoners of State talk.</p> + +<p class="staging">[<i><span class="sc">Simon Renard</span> appears at the back of stage.</i></p> + +<p>You see, Gilbert, the man who knows most about the history of these +times is the turnkey of the Tower of London.</p> + +<p>Simon Renard (<i>who overhears these last words</i>).</p> + +<p>You are mistaken, my master; it is the executioner!</p> + +<p class="speaker">JOSHUA (<i>low to <span class="sc">Gilbert</span> and <span class="sc">Jane</span></i>).</p> + +<p>Let us move back a little!</p> + +<p class="staging">[<i><span class="sc">Simon Renard</span> goes off slowly; when he has disappeared.</i></p> + +<p>That is Master Simon Renard himself.</p> + +<p class="speaker">GILBERT.</p> + +<p>I don't like to have all these men prowling about my house.</p> + +<p class="speaker">JOSHUA.</p> + +<p>What the devil is he doing here? I must hurry back; I think he is +getting work ready for me. Good-by, Gilbert! Good-by, my beautiful +Jane, I knew you when you were no bigger than that, all the same!</p> + +<p class="speaker">GILBERT.</p> + +<p>Good-by, Joshua! What are you hiding there under your cloak?</p> + +<p class="speaker">JOSHUA.</p> + +<p>I've got my conspiracy, too!</p> + +<p class="speaker">GILBERT.</p> + +<p>What conspiracy?</p> + +<p class="speaker">JOSHUA.</p> + +<p>O lover who forgets everything else! I have just reminded you that +the day after to-morrow is the time for Christmas presents. The +nobles are plotting a surprise for Fabiani. Well, I am plotting a +surprise too. The Queen may give herself the present of a brand-new +favorite. I am going to give my child a doll. [<i>He takes a doll from +his cloak.</i>] Brand-new, too! We will see which will be the first to +break her toy. God keep you, my friends.</p> + +<p class="speaker">GILBERT.</p> + +<p>Good-by, Joshua!</p> + +<p class="staging">[<span class="sc">Joshua</span> <i>departs</i>. <span class="sc">Gilbert</span> <i>takes</i> <span class="sc">Jane's</span> <i>hand and kisses it +with passion</i>.</p> + +<p class="speaker">JOSHUA (<i>from back of stage</i>).</p> + +<p>How wise is Providence! She gives to each one his plaything. The doll +to the child, the child to the man, the man to the woman, and the +woman to the devil. [<i>Exits.</i></p> + +<h4>SCENE III</h4> + +<p class="scene sc">Gilbert, Jane</p> + +<p class="speaker">GILBERT.</p> + +<p>I must go, too. Good-by, Jane: sleep well.</p> + +<p class="speaker">JANE.</p> + +<p>You are not coming in with me to-night, Gilbert?</p> + +<p class="speaker">GILBERT.</p> + +<p>I can't. You know, I told you before, Jane, I have some work to do in +my shop to-night. I must engrave the handle of a dagger for some Lord +Clanbrassil, whom I have never seen, and who wants it to-morrow +morning.</p> + +<p class="speaker">JANE.</p> + +<p>Then good-night, Gilbert. Until to-morrow!</p> + +<p class="speaker">GILBERT.</p> + +<p>No, Jane, wait a moment. Heaven! how it hurts me to leave you, even +for a few hours. How true it is that you are my life and my joy. Yet +I have to work—we are so poor. I won't go in, because I should stay; +and yet I can't leave you, weak man that I am. Let us sit down by the +door a few moments, on this bench. I think it will be easier to go +from here than if I went into the house, and, above all, into your +room. Give me your hand.</p> + +<p class="staging">[<i>He sits and takes her hands in his; she stands.</i></p> + +<p>Jane, do you love me?</p> + +<p class="speaker">JANE.</p> + +<p>Oh, I owe you everything, Gilbert. I know it, although you have +concealed it from me a long time! When I was little, almost in my +cradle, my parents abandoned me, and you took me. For sixteen years +your hand has worked for me as if you were a father; your eyes have +watched over me like a mother. What would I be without you, just +Heaven! All I have, you have given me; all I am, you have made me.</p> + +<p class="speaker">GILBERT.</p> + +<p>Jane, do you love me?</p> + +<p class="speaker">JANE.</p> + +<p>What devotion yours has been, Gilbert! You work for me, night and +day; you wear your eyes out, you kill yourself for me. You are going +to sit up all night again to-night. And never a reproach to me, never +an unkindness, never an angry word! You are very poor, yet you +remember all my small womanly vanities; you gratify them. Gilbert, +whenever I think about you, my eyes fill with tears. You have often +gone without bread; I have never gone without my ribbons.</p> + +<p class="speaker">GILBERT.</p> + +<p>Jane, do you love me?</p> + +<p class="speaker">JANE.</p> + +<p>Gilbert, I would like to kneel down and kiss your feet.</p> + +<p class="speaker">GILBERT.</p> + +<p>Do you love me, do you love me? All that does not prove that you love +me. I want that word, Jane! Gratitude, always gratitude! Oh, I stamp +it underfoot, your gratitude. I want love or nothing! Die! Jane, you +have been my daughter for sixteen years; now you are to be my wife. I +adopted you; now I am to marry you—in one week. You know, you +promised me; you have consented; you are my betrothed. You loved me +when you promised that. Oh, Jane, there was a time—do you remember +it?—when you told me, "I love you," and you lifted your sweet eyes +to heaven. That is the way I want you to be. For some months now, you +have seemed different, especially during these last three weeks that +my work has kept me away from here nights. Jane, I must have you love +me! I am used to it. You were always so light-hearted; now you are +sad and absent-minded—not cold, my poor child (you try your best not +to be), but I feel your loving words do not come as tenderly and as +naturally as they used. What is the matter? Don't you love me any +more? I know I am an honest man, I know I am a good workman; but I +would rather be a robber and an assassin, and be loved by you. Jane, +if you knew how much I love you!</p> + +<p class="speaker">JANE.</p> + +<p>I know it, Gilbert, and it makes me weep.</p> + +<p class="speaker">GILBERT.</p> + +<p>For joy, isn't it? Say it is for joy! Oh, I need to believe it. There +is only that in the world—to be loved. I have only a poor +workingman's heart, but my Jane must love me. Why do you always talk +to me about what I have done for you? One single word of love from +you puts all the gratitude on my side. I will damn myself and commit +a crime, whenever you wish it. You will be my wife, won't you, and +you love me? Oh, Jane, for one look of your eyes I would give my work +and my labor; for one smile, my life; for one kiss, my soul.</p> + +<p class="speaker">JANE.</p> + +<p>What a noble heart you have, Gilbert.</p> + +<p class="speaker">GILBERT.</p> + +<p>Listen to me, Jane—laugh at me if you will; I am mad, I am jealous! +I will tell you why. Do not get angry! It seems to me, for some time +I have seen several young lords prowling around here. Do you know, +Jane, I am thirty-two years old. For a poor, clumsy, badly-dressed +workman like myself, who am no longer young, who am not handsome, +what a misery it is to love a charming, beautiful girl of seventeen, +who attracts all the handsome, gold-bedizened young nobles around +her, as a light attracts the butterflies. Oh, I suffer; indeed, I do! +But I never blame you, even in my thoughts! You, so honest, so pure; +you, whose brow has never been touched, except by my lips. I only +feel, sometimes, that you look on the Queen's cavalcades and retinues +with too much pleasure, that you enjoy too much the fine suits of +velvet and satin, under which there are no hearts, no souls. Forgive +me. My God! why do so many young noblemen come around here? Why am I +not handsome, young, noble, rich? Gilbert the engraver—that is all I +am! They are Lord Chandos, Lord Gerard Fitz-Gerard, Earl of Arundel, +the Duke of Norfolk! Oh, how I hate them! I spend my life engraving +the handles of their swords, which I would like to plunge into their +bowels.</p> + +<p class="speaker">JANE.</p> + +<p>Gilbert!</p> + +<p class="speaker">GILBERT.</p> + +<p>I beg your pardon, Jane! Love makes us very wicked, doesn't it?</p> + +<p class="speaker">JANE.</p> + +<p>No, very good; for you are good, Gilbert.</p> + +<p class="speaker">GILBERT.</p> + +<p>Oh, how much I love you! It increases every day. I would like to die +for you! Love me or not, you can do as you please. I am mad. Forgive +all that I have said. It is late: I must leave you! Good-by! Oh, how +I hate to leave you! Go in! Haven't you your key?</p> + +<p class="speaker">JANE.</p> + +<p>No; I haven't had it for several days.</p> + +<p class="speaker">GILBERT.</p> + +<p>Take mine. Until to-morrow morning! Jane, don't forget this! To-day I +am still your father: in one week I shall be your husband.</p> + +<p class="staging">[<i>He kisses her on the forehead and exits.</i></p> + +<p class="speaker">JANE (<i>alone</i>).</p> + +<p>My husband! Oh, no! I will never commit that crime. Poor Gilbert! he +loves me truly; and the other—ah, provided I have not preferred +vanity to love! Unhappy woman that I am, into whose power have I +fallen! Oh, I am most thankless and most guilty! I hear footsteps! +Let me get in quickly. [<i>Goes into house.</i></p> + + +<h4>SCENE IV</h4> + +<p class="scene"><i><span class="sc">Gilbert, A Man</span> enveloped in cloak and wearing a yellow cap. <span class="sc">The +Man</span> holds <span class="sc">Gilbert</span> by the hand</i></p> + +<p class="speaker">GILBERT.</p> + +<p>Yes, I recognize you; you are the Jewish beggar who has been prowling +around this house for several days. What do you want with me? Why +have you taken hold of my hand, and why have you brought me back +here?</p> + +<p class="speaker">THE MAN.</p> + +<p>Because what I have to say to you, I can only say here.</p> + +<p class="speaker">GILBERT.</p> + +<p>Well, what is it? Speak! Hurry!</p> + +<p class="speaker">THE MAN.</p> + +<p>Listen, young man. One night, sixteen years ago, Lord Talbot, Earl of +Waterford, was beheaded by torchlight, for the crimes of popery and +rebellion, while his followers were cut to pieces in the city of +London by Henry VIII.'s soldiers. They shot in the streets all night. +That night a very young workman, who was much more interested in his +labor than in the battle, was working in his stall. It was the first +stall from the entrance of London Bridge; a low door on the right, +the remains of some old red paint on the wall. It might have been two +o'clock in the morning. They were fighting all around there. The +balls hissed across the Thames. Suddenly some one knocked at the door +of the stall, through which the workman's lamp threw a glimmer. The +workman opened it. A man he did not know, entered. This man carried +in his arms a baby in long clothes, who was much frightened and was +crying. The man put the child down on the table and said, "Here is a +creature who has neither father nor mother." Then he went out slowly +and closed the door after him. Gilbert, the workman, had neither +father nor mother himself. The workman accepted the child: the orphan +adopted the orphan. He took it, watched over it, clothed it, fed it, +tended it, brought it up, loved it. He gave himself entirely to this +poor little creature whom civil war had thrown into his stall. He +forgot everything for her—his youth, his love-affairs, his +pleasures; he made this child the sole object of his work, his +affections, his life: and it has lasted sixteen years. Gilbert, the +workman was you; the child—</p> + +<p class="speaker">GILBERT.</p> + +<p>Was Jane. All that you say is true; but what are you driving at?</p> + +<p class="speaker">THE MAN.</p> + +<p>I forgot to say that on the child's swaddling-clothes a paper was +pinned, on which was written: "Have pity upon Jane."</p> + +<p class="speaker">GILBERT.</p> + +<p>It was written in blood. I have kept that paper. I always carry it +about me. But you torture me. What is your purpose, tell me.</p> + +<p class="speaker">THE MAN.</p> + +<p>This. You see that I am acquainted with your affairs. Gilbert, watch +over your house to-night.</p> + +<p class="speaker">GILBERT.</p> + +<p>What do you mean?</p> + +<p class="speaker">THE MAN.</p> + +<p>Not another word. Don't go to your work; stay around the house: +watch! I am neither your friend nor your enemy; this is only a piece +of advice that I give you. Now, for your own sake, leave me! Go down +that side, and come back if you hear me call for help.</p> + +<p class="speaker">GILBERT.</p> + +<p>What does this mean? [<i>Goes off slowly.</i></p> + + +<h4>SCENE V</h4> + +<p class="speaker">THE MAN (<i>alone</i>).</p> + +<p>The matter is well arranged now. I needed some one young and strong +to help me if it was necessary. This Gilbert is just the man I want. +I think I hear the sound of oars and a guitar on the water. Yes.</p> + +<p class="staging">[<i>He goes to the parapet. A guitar and distant singing are heard.</i></p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">When you sing soft at night, love,</span><br /> + <span class="i0">Clasped in my arms so fond,</span><br /> + <span class="i0">Can you not hear the tender thoughts</span><br /> + <span class="i0">Which to your voice respond?</span><br /> + <span class="i0">Your song brings back unto my heart</span><br /> + <span class="i0">The happy days of yore;</span><br /> + <span class="i0">Then sing, my beauty, sing, my love,</span><br /> + <span class="i0">Sing on for evermore!</span></div> +</div> + + +<p class="speaker">THE MAN.</p> + +<p>That is my man!</p> + +<p class="staging">[<i>The voice draws nearer with each verse.</i></p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">When you laugh, on your lips, dear,</span><br /> + <span class="i0">Love's sweetest shadows play;</span><br /> + <span class="i0">And doubt and cruel unbelief</span><br /> + <span class="i0">Are sudden chased away.</span><br /> + <span class="i0">For laughter proves we're loyal</span><br /> + <span class="i0">And faithful to the core;</span><br /> + <span class="i0">Then laugh, my beauty, laugh, my love,</span><br /> + <span class="i0">Laugh on for evermore!</span></div> +<div class="stanza"> + <span class="i0">When you sleep, calm and pure, love,</span><br /> + <span class="i0">In shadow, 'neath my eyes,</span><br /> + <span class="i0">And your soft breathing gives my heart</span><br /> + <span class="i0">Its tenderest replies,</span><br /> + <span class="i0">On your sweet form my eyes can feast,</span><br /> + <span class="i0">Oh, beauty's priceless store!</span><br /> + <span class="i0">Then sleep, my beauty, sleep, my love,</span><br /> + <span class="i0">Sleep on for evermore!</span></div> +<div class="stanza"> + <span class="i0">And when you say, "I love you,"</span><br /> + <span class="i0">In truth it seems to be</span><br /> + <span class="i0">As if God's heaven were opening</span><br /> + <span class="i0">Especially for me.</span><br /> + <span class="i0">I see dreams hidden in your eyes</span><br /> + <span class="i0">That we've not dreamed before;</span><br /> + <span class="i0">Then love me, oh, my beauty,</span><br /> + <span class="i0">Love me for evermore!</span></div> +<div class="stanza"> + <span class="i0">You see, the whole of life, dear,</span><br /> + <span class="i0">Lies in those words, just four—</span><br /> + <span class="i0">All things that people envy,</span><br /> + <span class="i0">All things that men adore,</span><br /> + <span class="i0">All things that are seductive,</span><br /> + <span class="i0">On which our heart sets store.</span><br /> + <span class="i0">To sing, to laugh, my beauty,</span><br /> + <span class="i0">To sleep, to love, no more!</span></div> +</div> + +<p class="speaker">THE MAN.</p> + +<p>He lands! Good! He sends off the boatmen. Excellent!</p> + +<p class="staging">[<i>Comes back to the front of the stage.</i></p> + +<p>Here he comes.</p> + +<p class="staging">[<i><span class="sc">Fabiano Fabiani</span> enters, enveloped in a cloak; he goes toward the +door of the house.</i></p> + + +<h4>SCENE VI</h4> + +<p class="scene sc">The Man, Fabiano Fabiani</p> + +<p class="speaker">THE MAN (<i>stopping</i> <span class="sc">Fabiani</span>).</p> + +<p>A word with you, if you please.</p> + +<p class="speaker">FABIANI.</p> + +<p>I believe some one is speaking to me. Who is this knave? Who are you?</p> + +<p class="speaker">THE MAN.</p> + +<p>Whatever you wish me to be.</p> + +<p class="speaker">FABIANI.</p> + +<p>This lantern is not very bright, but you wear a yellow cap, it seems +to me—a Jew's cap. Are you a Jew?</p> + +<p class="speaker">THE MAN.</p> + +<p>Yes, a Jew. I have something to tell you.</p> + +<p class="speaker">FABIANI.</p> + +<p>What is your name?</p> + +<p class="speaker">THE MAN.</p> + +<p>I know your name, and you don't know mine. I have the advantage. +Permit me to keep it.</p> + +<p class="speaker">FABIANI.</p> + +<p>You know my name? That isn't true.</p> + +<p class="speaker">THE MAN.</p> + +<p>I know your name. At Naples you were called Signor Fabiani; at +Madrid, Don Fabiano; at London you are called Lord Fabiano Fabiani, +Earl of Clanbrassil.</p> + +<p class="speaker">FABIANI.</p> + +<p>The devil take you!</p> + +<p class="speaker">THE MAN.</p> + +<p>God keep you!</p> + +<p class="speaker">FABIANI.</p> + +<p>I will have you cudgeled. I do not wish my name to be known when I go +abroad by night.</p> + +<p class="speaker">THE MAN.</p> + +<p>Especially when you go where you are going.</p> + +<p class="speaker">FABIANI.</p> + +<p>What do you mean?</p> + +<p class="speaker">THE MAN.</p> + +<p>If the Queen knew!</p> + +<p class="speaker">FABIANI.</p> + +<p>I am going nowhere in particular.</p> + +<p class="speaker">THE MAN.</p> + +<p>Oh, yes, my lord! You are going to see the fair Jane, the betrothed +of Gilbert the engraver.</p> + +<p class="speaker">FABIANI (<i>aside</i>).</p> + +<p>The devil! This is a dangerous man.</p> + +<p class="speaker">THE MAN.</p> + +<p>Shall I tell you more? You have seduced this girl, and during the +last month she has received you twice in her house at night. This is +the third time. The beauty is waiting for you.</p> + +<p class="speaker">FABIANI.</p> + +<p>Keep still. Do you want hush-money? How much do you want?</p> + +<p class="speaker">THE MAN.</p> + +<p>We will see about that by-and-by. Now, my lord, shall I tell you why +you have seduced this girl?</p> + +<p class="speaker">FABIANI.</p> + +<p>By my faith! because I was in love with her.</p> + +<p class="speaker">THE MAN.</p> + +<p>No. You were not in love with her.</p> + +<p class="speaker">FABIANI.</p> + +<p>I wasn't in love with Jane.</p> + +<p class="speaker">THE MAN.</p> + +<p>No more than with the Queen! Love, oh, no! calculation, yes.</p> + +<p class="speaker">FABIANI.</p> + +<p>Why, fool, you are no man at all! You are my conscience dressed up +like a Jew.</p> + +<p class="speaker">THE MAN.</p> + +<p>I will speak to you as if I were your conscience. This is your plan. +You are the Queen's favorite. The Queen has given you the garter, an +earldom, and a lordship—empty things, all of them. The garter is a +rag; the earldom is a word; the lordship is the right to have your +head cut off. You wanted something more. You wanted fine lands, fine +bailiwicks, fine castles, fine revenues in fine English pounds. Well, +King Henry VIII. confiscated the estates of Lord Talbot, who was +beheaded sixteen years ago. You got Queen Mary to give you Lord +Talbot's estates. But, to make the gift valid, it is necessary that +Lord Talbot should have died without heirs. And since Lord Talbot +died for Queen Mary and for her mother, Catherine of Aragon, since +Lord Talbot was a Papist, and since the Queen is a Papist, it is not +at all doubtful, if there existed such an heir or an heiress, that +Queen Mary would take back the estates from you, great favorite +though you are, and out of duty, gratitude and religion, return them +to the heir or heiress. You were quite easy on that score, for Lord +Talbot had never had but one little daughter; she disappeared from +her cradle at the time of her father's execution, and all England +believed her to be dead. But your spies have lately discovered that +during the night in which Lord Talbot and his partisans were +exterminated by Henry VIII., a child was mysteriously brought to an +engraver on London Bridge, and that it was probable that this child, +reared under the name of Jane, was Jane Talbot, the little girl who +had disappeared. It is true that the written proofs of her birth were +lacking, but they might be found any day. The discovery was +unpleasant. It would be hard to see one's self forced some day to +give back Shrewsbury, Wexford, which is a fine city, and the +magnificent earldom of Waterford, to a little girl! What was to be +done? You searched for a way to set aside this young girl, and to +destroy her. An honest man would have had her killed or poisoned. +You, my lord, have done better—you have dishonored her.</p> + +<p class="speaker">FABIANI.</p> + +<p>Insolent fool!</p> + +<p class="speaker">THE MAN.</p> + +<p>It is your conscience which is speaking, my lord. Another man would +have taken this young girl's life; you have taken her honor, and, +consequently, her future. Queen Mary is a prude, although she has +lovers herself.</p> + +<p class="speaker">FABIANI.</p> + +<p>This man goes to the bottom of everything.</p> + +<p class="speaker">THE MAN.</p> + +<p>The Queen's health is bad; the Queen may die, and then you, the +favorite, will fall shattered on her tomb. The actual proofs of this +young girl's rank may be found; and then, if the Queen is dead, Jane +Talbot, dishonored though she be, will be recognized as Lord Talbot's +heiress. You have foreseen that too. You are a handsome young +cavalier; you have won her love; she has given herself to you; at the +worst, you can marry her. Don't deprecate your scheme, my lord; I +consider it sublime. If I were not myself, I would like to be you.</p> + +<p class="speaker">FABIANI.</p> + +<p>Thank you.</p> + +<p class="speaker">THE MAN.</p> + +<p>You have managed the matter very skillfully. You have concealed your +name. You are safe as far as the Queen is concerned. The poor girl +thinks she has been seduced by a nobleman from Somerset county, named +Amyas Pawlet.</p> + +<p class="speaker">FABIANI.</p> + +<p>All—he knows it all! Well, come to the point. What do you want of +me?</p> + +<p class="speaker">THE MAN.</p> + +<p>My lord, suppose some one had in his possession the papers which +prove the birth, existence, and rights of Talbot's heiress! It would +make you as poor as my ancestor Job, Don Fabiano, and would leave you +no better castles than your castles in Spain, which would be very +hard for you.</p> + +<p class="speaker">FABIANI.</p> + +<p>Yes! But no one has those papers.</p> + +<p class="speaker">THE MAN.</p> + +<p>Yes. Some one has them.</p> + +<p class="speaker">FABIANI.</p> + +<p>Who?</p> + +<p class="speaker">THE MAN.</p> + +<p>I.</p> + +<p class="speaker">FABIANI.</p> + +<p>You, miserable wretch! It isn't true! Jew speaks, Jew lies.</p> + +<p class="speaker">THE MAN.</p> + +<p>I have got the papers.</p> + +<p class="speaker">FABIANI.</p> + +<p>You lie! Where have you got them?</p> + +<p class="speaker">THE MAN.</p> + +<p>In my pocket.</p> + +<p class="speaker">FABIANI.</p> + +<p>I don't believe you. Are they all in order? Nothing lacking?</p> + +<p class="speaker">THE MAN.</p> + +<p>Nothing is lacking.</p> + +<p class="speaker">FABIANI.</p> + +<p>Then I must have them.</p> + +<p class="speaker">THE MAN.</p> + +<p>Gently.</p> + +<p class="speaker">FABIANI.</p> + +<p>Jew, give me those papers!</p> + +<p class="speaker">THE MAN.</p> + +<p>Excellent! Jew, miserable beggar who crawls through the streets, give +me the city of Shrewsbury, give me the city of Wexford, give me the +earldom of Waterford! Charity, if you please!</p> + +<p class="speaker">FABIANI.</p> + +<p>Those papers are everything to me and nothing to you.</p> + +<p class="speaker">THE MAN.</p> + +<p>Simon Renard and Lord Chandos would pay me pretty high for them.</p> + +<p class="speaker">FABIANI.</p> + +<p>Simon Renard and Lord Chandos are two dogs between whom I will have +you hanged.</p> + +<p class="speaker">THE MAN.</p> + +<p>You have nothing else to say to me? Then farewell.</p> + +<p class="speaker">FABIANI.</p> + +<p>Come back! What do you want me to give you for those papers?</p> + +<p class="speaker">THE MAN.</p> + +<p>Something which you have with you.</p> + +<p class="speaker">FABIANI.</p> + +<p>My purse?</p> + +<p class="speaker">THE MAN.</p> + +<p>Out upon you! Do you want mine?</p> + +<p class="speaker">FABIANI.</p> + +<p>What then?</p> + +<p class="speaker">THE MAN.</p> + +<p>There is a parchment which never leaves you. It is a signature in +blank which the Queen gave you, and in which she swears, upon her +Catholic crown, to grant any favor he may ask, to the one who +presents it. Give me that signature in blank, and you shall have Jane +Talbot's titles. Paper for paper.</p> + +<p class="speaker">FABIANI.</p> + +<p>What do you want to do with this signature in blank?</p> + +<p class="speaker">THE MAN.</p> + +<p>I will explain. Cards on the table, my lord. I have told you your +affairs; now I will tell you mine. I am one of the principal +money-dealers in Kantersten Street, Brussels. I lend money; it is my +business. I lend ten and get back fifteen. I lend to every one: I +would lend to the devil; I would lend to the Pope. Two months ago one +of my creditors died, without paying me. It was an old exiled servant +of the Talbot family. The poor man left nothing but a few rags: I +seized them. Among these rags I found a box, and in the box some +papers—Jane Talbot's papers, my lord, giving her entire history in +detail and furnishing proofs for better times. The Queen of England +had just given you Jane Talbot's estates. I was in great need of the +Queen of England at that time, for I wanted to make a loan of ten +thousand gold marks. I realized that I might do business with you. I +came to England in this disguise; I made myself a spy upon you, upon +Jane Talbot. I did it all myself. In this way I learned everything, +and here I am. You shall have Jane Talbot's papers if you give me the +Queen's signature in blank. I will write upon it that the Queen shall +give me ten thousand gold marks. They owe me something at the +excise-office, but I won't haggle. Ten thousand gold marks—nothing +more. I don't ask you for the sum, because only a crowned head could +pay it. I am speaking frankly, you see. Two men as clever as we are, +my lord, have nothing to gain by deceiving each other. If frankness +were banished from the earth, it would be re-discovered in a +<i>tête-à-tête</i> between two rogues.</p> + +<p class="speaker">FABIANI.</p> + +<p>Impossible! I can't give you this signature in blank. Ten thousand +gold marks! What would the Queen say? And then, to-morrow I may be +disgraced: this signature in blank is my safeguard. This signature in +blank is my head.</p> + +<p class="speaker">THE MAN.</p> + +<p>What does that matter to me?</p> + +<p class="speaker">FABIANI.</p> + +<p>Ask me for something else.</p> + +<p class="speaker">THE MAN.</p> + +<p>I want that.</p> + +<p class="speaker">FABIANI.</p> + +<p>Jew, give me Jane Talbot's papers.</p> + +<p class="speaker">THE MAN.</p> + +<p>My lord, give me the Queen's signature in blank.</p> + +<p class="speaker">FABIANI.</p> + +<p>Accursed Jew, I will have to yield. [<i>Draws a paper from his pocket.</i></p> + +<p class="speaker">THE MAN.</p> + +<p>Show me the Queen's signature in blank.</p> + +<p class="speaker">FABIANI.</p> + +<p>Show me Talbot's papers.</p> + +<p class="speaker">THE MAN.</p> + +<p>Afterward.</p> + +<p class="staging">[<i>They go close to the lantern. <span class="sc">Fabiani</span> stands behind the Jew, and +with his left hand holds the paper under the Jew's eyes; he examines +it. <span class="sc">The Man</span> reads.</i></p> + +<p>"We, Mary, Queen—" It is well. You see, my lord, I am like you. I +have calculated upon everything. I have foreseen everything.</p> + +<p class="speaker">FABIANI (<i>draws a dagger with his right hand and plunges it into the +Jew's throat</i>).</p> + +<p>Except this!</p> + +<p class="speaker">THE MAN.</p> + +<p>Oh, traitor! Help!</p> + +<p class="staging">[<i>He falls. In falling he throws a sealed packet into the darkness +behind him; <span class="sc">Fabiani</span> does not perceive it.</i></p> + +<p class="speaker">FABIANI (<i>leaning over the body</i>).</p> + +<p>Faith! I believe he is dead. Quick, the papers. [<i>He searches the +Jew.</i>] What! he hasn't got them. He has nothing—nothing at all about +him! Not a paper! He was lying, the old wretch! He deceived me: he +wanted to rob me. Is it possible, you accursed Jew! No, he has +nothing. That is clear. I have killed him for nothing. They are all +alike, these Jews. To lie and steal, that is all they can do. Come, +let us get rid of this corpse; I can't leave it here at the door. +[<i>Goes up stage.</i>] I will see if the boatman is still there; he can +help me throw it into the Thames.</p> + +<p class="staging">[<i>He descends, and disappears behind the parapet.</i></p> + +<p class="speaker">GILBERT (<i>enters from the opposite side</i>).</p> + +<p>I thought I heard a cry!</p> + +<p class="staging">[<i>He perceives the body stretched upon the ground under the lantern.</i></p> + +<p>Some one has been assassinated! The beggar!</p> + +<p class="speaker">THE MAN (<i>lifting himself half-way up</i>).</p> + +<p>Ah, you come too late, Gilbert.</p> + +<p class="staging">[<i>He points to the place where he threw the packet.</i></p> + +<p>Take them. They are the papers which prove that Jane, your betrothed, +is daughter and heiress of the last Lord Talbot. My assassin is Lord +Clanbrassil, the Queen's favorite. Oh, I suffocate! Gilbert, avenge +me! Avenge yourself! [<i>He dies.</i></p> + +<p class="speaker">GILBERT.</p> + +<p>Dead! Avenge myself? What does he mean? Jane, daughter to Lord +Talbot? Lord Clanbrassil! The Queen's favorite? Oh, I am lost in +wonder! [<i>Shaking the body.</i>] Speak! One word more! He is indeed +dead!</p> + + +<h4>SCENE VII</h4> + +<p class="scene sc">Gilbert, Fabiani</p> + +<p class="speaker">FABIANI (<i>returning</i>).</p> + +<p>Who goes there?</p> + +<p class="speaker">GILBERT.</p> + +<p>A man has been assassinated.</p> + +<p class="speaker">FABIANI.</p> + +<p>No, a Jew.</p> + +<p class="speaker">GILBERT.</p> + +<p>Who killed him?</p> + +<p class="speaker">FABIANI.</p> + +<p>Faith! You or I.</p> + +<p class="speaker">GILBERT.</p> + +<p>Sir?</p> + +<p class="speaker">FABIANI.</p> + +<p>No witnesses. A corpse on the ground. Two men beside it. Which is the +assassin? There is nothing to prove it is one rather than the +other—I rather than you.</p> + +<p class="speaker">GILBERT.</p> + +<p>Miserable man! You are the assassin!</p> + +<p class="speaker">FABIANI.</p> + +<p>Well, yes! To be frank, I am. What of it?</p> + +<p class="speaker">GILBERT.</p> + +<p>I am going to call the constables.</p> + +<p class="speaker">FABIANI.</p> + +<p>You are going to help me throw the body into the water.</p> + +<p class="speaker">GILBERT.</p> + +<p>I will have you seized and punished.</p> + +<p class="speaker">FABIANI.</p> + +<p>You will help me throw the body into the water.</p> + +<p class="speaker">GILBERT.</p> + +<p>You are insolent.</p> + +<p class="speaker">FABIANI.</p> + +<p>Do as I say! Let us destroy all traces of this. Believe me, you are +more interested in the matter than I am.</p> + +<p class="speaker">GILBERT.</p> + +<p>Upon my soul!</p> + +<p class="speaker">FABIANI.</p> + +<p>One of us two did the deed. I am a great lord, a nobleman. You are a +passer-by, a peasant, a man of the people. A noble who kills a Jew +pays a fine of four sous; a man of the people who kills one of his +fellow-creatures is hanged.</p> + +<p class="speaker">GILBERT.</p> + +<p>You would dare—</p> + +<p class="speaker">FABIANI.</p> + +<p>If you denounce me, I will denounce you. I will be believed sooner +than you. At any rate, the chances are unequal. Four sous fine for +me, and the gallows for you.</p> + +<p class="speaker">GILBERT.</p> + +<p>No witnesses! No proofs! Oh, my brain is bewildered! This miserable +man is right, he has me in his power.</p> + +<p class="speaker">FABIANI.</p> + +<p>Shall I help you throw the corpse into the river?</p> + +<p class="speaker">GILBERT.</p> + +<p>You are a demon!</p> + +<p class="staging">[<i><span class="sc">Gilbert</span> takes the body up by the head, <span class="sc">Fabiani</span> by the feet; +they carry it to the parapet.</i></p> + +<p class="speaker">FABIANI.</p> + +<p>Yes. Faith, my friend, I can no longer exactly tell which of us +killed this man!</p> + +<p class="staging">[<i>They go down behind the parapet. <span class="sc">Fabiani</span> re-appears.</i></p> + +<p>It is done. Good-night, comrade! Go your way!</p> + +<p class="staging">[<i>He starts toward the house, but turns back, seeing that <span class="sc">Gilbert</span> +follows him.</i></p> + +<p>Well, what do you want? Money for your trouble? In truth, I don't owe +you anything, but here, take this.</p> + +<p class="staging">[<i>He gives his purse to <span class="sc">Gilbert</span>, whose first impulse is to refuse +it, but who accepts it afterward with the air of a man who has +reflected.</i></p> + +<p>Well, go! What more are you waiting for?</p> + +<p class="speaker">GILBERT.</p> + +<p>Nothing.</p> + +<p class="speaker">FABIANI.</p> + +<p>Then stay, if it pleases you. You can have the fine starlight while I +have the pretty girl. God be with you!</p> + +<p class="staging">[<i>He starts toward the door of the house and is about to open it.</i></p> + +<p class="speaker">GILBERT.</p> + +<p>Where are you going?</p> + +<p class="speaker">FABIANI.</p> + +<p>Faith, into my house!</p> + +<p class="speaker">GILBERT.</p> + +<p>How? Into your house!</p> + +<p class="speaker">FABIANI.</p> + +<p>That is what I said.</p> + +<p class="speaker">GILBERT.</p> + +<p>Which of us two is dreaming? A short time ago you told me that I was +the Jew's assassin! Now you tell me that that house is yours.</p> + +<p class="speaker">FABIANI.</p> + +<p>Or that of my mistress, which amounts to the same thing.</p> + +<p class="speaker">GILBERT.</p> + +<p>Repeat what you have just said.</p> + +<p class="speaker">FABIANI.</p> + +<p>My friend, I say, since you wish to know, that this house belongs to +a beautiful girl named Jane, who is my mistress.</p> + +<p class="speaker">GILBERT.</p> + +<p>And I tell you, my lord, that you lie! I tell you that you are a liar +and an assassin! I tell you that you are an insolent knave! I tell +you, you have pronounced some fatal words which will kill us +both—you, for having said them: me, for having heard them.</p> + +<p class="speaker">FABIANI.</p> + +<p>Dear me! Who the devil is this man?</p> + +<p class="speaker">GILBERT.</p> + +<p>I am Gilbert the engraver. Jane is my betrothed.</p> + +<p class="speaker">FABIANI.</p> + +<p>And I am the Chevalier Amyas Pawlet. Jane is my mistress.</p> + +<p class="speaker">GILBERT.</p> + +<p>You lie, I tell you! You are Lord Clanbrassil, the Queen's favorite. +Don't you think I know that, fool!</p> + +<p class="speaker">FABIANI (<i>aside</i>).</p> + +<p>Everybody seems to know me to-night. Another dangerous man, whom we +must get rid of.</p> + +<p class="speaker">GILBERT.</p> + +<p>Tell me instantly that you have lied like a coward, and that Jane is +not your mistress!</p> + +<p class="speaker">FABIANI.</p> + +<p>Do you know her writing?</p> + +<p class="staging">[<i>He takes a note from his pocket.</i></p> + +<p>Read this!</p> + +<p class="staging">[<i>Aside, while <span class="sc">Gilbert</span> tremblingly unfolds the paper.</i></p> + +<p>If he would go in and quarrel with Jane, it would give my people time +to get here.</p> + +<p class="speaker">GILBERT (<i>reading</i>).</p> + +<p>"I will be alone to-night. You can come." Malediction! My lord, you +have dishonored my betrothed, you are an infamous wretch! I demand my +revenge.</p> + +<p class="speaker">FABIANI (<i>putting his hand to his sword</i>).</p> + +<p>Willingly! Where is your sword?</p> + +<p class="speaker">GILBERT.</p> + +<p>Oh, fury! To be one of the people! To have nothing—neither sword nor +dagger. Well, you can go; but I will wait for you at night, in a +corner of the street, and I will stick my nails into your throat, and +I will assassinate you, you villain!</p> + +<p class="speaker">FABIANI.</p> + +<p>Dear me! How violent you are, my friend.</p> + +<p class="speaker">GILBERT.</p> + +<p>I will be revenged upon you, my lord!</p> + +<p class="speaker">FABIANI.</p> + +<p>You! Revenged upon me? You so low, upon me so high! You are crazy! +I defy you.</p> + +<p class="speaker">GILBERT.</p> + +<p>You defy me?</p> + +<p class="speaker">FABIANI.</p> + +<p>Yes.</p> + +<p class="speaker">GILBERT.</p> + +<p>You shall see.</p> + +<p class="speaker">FABIANI (<i>aside</i>).</p> + +<p>To-morrow's sun must not rise for this man. [<i>Aloud.</i>] Friend, listen +to me. Go into your house. I am sorry you found it out, but I leave +the beauty to you. Go in.</p> + +<p class="staging">[<i>He throws a key down at <span class="sc">Gilbert's</span> feet.</i></p> + +<p>There is a key, if you haven't got one. Or, if you like it better, +you can knock against the shutter three times and Jane will think it +is I, and let you in. Good-night. [<i>He goes off.</i></p> + + +<h4>SCENE VIII</h4> + +<p class="speaker">GILBERT (<i>alone</i>).</p> + +<p>He is gone. He is no longer here. I did not grind and crush him +beneath my feet. I had to let him go. Not a weapon about me.</p> + +<p class="staging">[<i>He sees on the ground the dagger with which <span class="sc">Lord Clanbrassil</span> +killed the Jew; he picks it up with fearful haste.</i></p> + +<p>Ah, you come too late; you can probably kill no one but myself. All +the same, whether you fall from heaven or are vomited up from hell, I +bless you. My Jane has betrayed me! Jane has given herself to this +infamous man. Jane is the heiress of Lord Talbot. Jane is lost to me! +O God! more terrible things have come to me in this hour than my +brain can stand.</p> + +<p class="staging">[<i><span class="sc">Simon Renard</span> appears in the darkness at the back.</i></p> + +<p>Oh, to be revenged on that man! To be revenged on this Lord +Clanbrassil! If I go to the Queen's palace, the lackeys will kick me +out as if I were a dog. I am mad! My head will burst! I am willing to +die, but I want to be revenged. I would give my blood for revenge! +Will nobody in the world make this bargain with me? Who will give me +vengeance on Lord Clanbrassil and take my life in payment?</p> + + +<h4>SCENE IX</h4> + +<p class="scene sc">Gilbert, Simon Renard</p> + +<p class="speaker">SIMON RENARD (<i>taking a step forward</i>).</p> + +<p>I will.</p> + +<p class="speaker">GILBERT.</p> + +<p>You? Who are you?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>The man you want.</p> + +<p class="speaker">GILBERT.</p> + +<p>Do you know who I am?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>You are the man I need.</p> + +<p class="speaker">GILBERT.</p> + +<p>There is no longer but one thought in my mind, do you know that? To +be revenged on Lord Clanbrassil and to die!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>You shall be revenged on Lord Clanbrassil and you shall die.</p> + +<p class="speaker">GILBERT.</p> + +<p>Who ever you may be, I thank you.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Yes, you shall have the vengeance you desire. But do not forget upon +what condition. I must have your life.</p> + +<p class="speaker">GILBERT.</p> + +<p>Take it.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>It is agreed?</p> + +<p class="speaker">GILBERT.</p> + +<p>Yes.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Follow me!</p> + +<p class="speaker">GILBERT.</p> + +<p>Where?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>You shall know.</p> + +<p class="speaker">GILBERT.</p> + +<p>Remember that you have promised to avenge me!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Remember that you have promised to die.</p> + + + +<h3>SECOND DAY</h3> + +<p class="center">THE QUEEN</p> + +<p><span class="sc">Scene.</span>—<i>A room in the royal apartment. The gospel open on a +prie-Dieu. The royal crown upon a stool. Side doors. A large door in +the center. A portion of the background concealed by a large +tapestry, representing a grand tournament</i></p> + + +<h4>SCENE I</h4> + +<p class="scene"><i><span class="sc">The Queen</span>, splendidly dressed, reclining upon a couch; <span class="sc">Fabiano +Fabiani</span> seated on a folding-chair. Magnificent costume. The garter</i></p> + +<p class="speaker">FABIANI (<i>a guitar in his hands, singing</i>).</p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">When you sleep, calm and pure, love,</span><br /> + <span class="i0">In shadow, 'neath my eyes,</span><br /> + <span class="i0">And your soft breathing gives my heart</span><br /> + <span class="i0">Its tenderest replies;</span><br /> + <span class="i0">On your sweet form my eyes can feast,</span><br /> + <span class="i0">Oh, beauty's priceless store!</span><br /> + <span class="i0">Then sleep, my beauty, sleep, my love,</span><br /> + <span class="i0">Sleep on, for evermore!</span></div> +<div class="stanza"> + <span class="i0">And when you say, "I love you,"</span><br /> + <span class="i0">In truth, it seems to be</span><br /> + <span class="i0">As if God's heaven were opening</span><br /> + <span class="i0">Especially for me.</span><br /> + <span class="i0">I see dreams hidden in your eyes</span><br /> + <span class="i0">That we've not dreamed before;</span><br /> + <span class="i0">Then love me, oh, my beauty,</span><br /> + <span class="i0">Love me for evermore!</span></div> +<div class="stanza"> + <span class="i0">You see, the whole of life, dear,</span><br /> + <span class="i0">Lies in those words, just four—</span><br /> + <span class="i0">All things that people envy,</span><br /> + <span class="i0">All things that men adore,</span><br /> + <span class="i0">All things that are seductive</span><br /> + <span class="i0">On which our hearts set store,</span><br /> + <span class="i0">To sing, to laugh, my beauty,</span><br /> + <span class="i0">To sleep, to love, no more!</span></div> +</div> + +<p class="staging">[<i>He puts down his guitar.</i></p> + +<p>Oh, I love you more than I can tell, madame! But this Simon +Renard—this Simon Renard, who is more powerful here than you +yourself—I hate him!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>I can't help it, my lord; you know that. He is here as the ambassador +of the Prince of Spain, my future husband.</p> + +<p class="speaker">FABIANI.</p> + +<p>Your future husband!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Come, my lord, let us not speak of that. I love you! What more do you +wish? Moreover, it is time for you to go, now.</p> + +<p class="speaker">FABIANI.</p> + +<p>One moment more, Mary!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>It is time for the secret council to meet. Until now, there has been +only a woman here. We must let the Queen enter.</p> + +<p class="speaker">FABIANI.</p> + +<p>I wish the woman would keep the Queen waiting at the door.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You wish, do you? You wish, do you? Look at me, my lord! Fabiani, you +have a young and beautiful head!</p> + +<p class="speaker">FABIANI.</p> + +<p>It is you who are beautiful, madame. You need only your beauty to be +all-powerful. There is something on your head which tells me you are +the Queen; but it is written plainer on your brow than on your crown!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Flatterer!</p> + +<p class="speaker">FABIANI.</p> + +<p>I love you!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You love me, do you not? You love only me? Say it to me again, just +like that, with the same eyes! Alas! we poor women, we never know +just what is passing in a man's heart. We have to trust your eyes; +and the handsomest eyes, Fabiani, are often the most false. But +yours, my lord, are so full of loyalty, so full of candor, so full of +good faith, they could not deceive, those eyes—could they? Yes, my +beautiful page, your glances are artless and sincere. Oh, it would be +shameful to take such heavenly eyes to betray with! Your eyes are the +eyes either of a devil or an angel!</p> + +<p class="speaker">FABIANI.</p> + +<p>Neither angel nor devil. A man who loves you!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Who loves the Queen?</p> + +<p class="speaker">FABIANI.</p> + +<p>Who loves Mary.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Listen to me, Fabiani. I love you, too. You are young; there are many +beautiful women who smile tenderly on you—I know it. People get +tired of queens as well as of other women.—Don't interrupt me!—If +you ever fall in love with another woman, I want you to tell me about +it.—Don't interrupt me, dear!—I may forgive you, if you tell me +about it. You don't know how much I love you. I don't know myself. It +is true, there are moments when I would rather see you dead than +happy with another; but there are also moments when I would rather +have you happy. Indeed, I don't know why they try to make me out such +a wicked woman!</p> + +<p class="speaker">FABIANI.</p> + +<p>I can only be happy with you, Mary! I love no one but you!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Are you sure? Look at me! Are you sure? Oh, I am jealous sometimes! I +imagine—where is the woman who does not think of these +things?—sometimes I imagine that you are false to me. I would like +to be invisible, so that I might follow you, and always know what you +are doing, what you are saying, where you are! In fairy stories they +tell about a ring which makes one invisible; I would give my crown to +have such a ring as that. I keep thinking that you go to see the +beautiful women in the city. Oh, you must not deceive me—indeed, you +must not!</p> + +<p class="speaker">FABIANI.</p> + +<p>Banish such thoughts from your mind, madame. I false to you, my love, +my queen, my kind mistress! To do that, I would have to be the most +thankless, the most miserable of men. And I have given you no reason +to think me the most thankless, the most miserable of men. I love +you, Mary; I adore you! I could not even look at another woman! I +love you, I say; but don't you see it in my eyes? There must be some +way to persuade you! Look at me well! Do I look like a man who is +false? When a man deceives a woman, you can see it at once. Women are +seldom mistaken about that. And what a time you choose to tell me +these things—the one moment in my life when I love you the most! It +is true, I am sure I never loved you so much as I do to-day. I am not +speaking to the Queen. What do I care about the Queen? What can she +do to me? She can have my head cut off; what does that amount to? +You, Mary, can break my heart. It isn't your sovereignty that I love, +it is yourself. It is your beautiful white and soft hand that I love +to kiss; it isn't your scepter, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Thank you, my Fabiano. Good-by! Ah, my lord, how young you are! What +beautiful black hair, what a graceful head you have! Come back to me +in an hour.</p> + +<p class="speaker">FABIANI.</p> + +<p>What you call an hour, I call a century!</p> + +<p class="staging">[<i>He goes out. As soon as he is gone, <span class="sc">The Queen</span> rises hastily, goes +to a concealed door, opens it, and ushers in <span class="sc">Simon Renard</span>.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene sc">The Queen, Simon Renard</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Come in, Sir Bailiff! Well, did you stay there? Did you hear him?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Yes, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What do you say to it? Oh, of all men on earth he is the most false, +the most deceitful! What do you say to it?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>I say, madame, that it is plain to be seen his name ends in <i>i</i>.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Are you sure that he goes to this woman at night? Did you see him?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>I myself, Chandos, Clinton, Montague. Ten witnesses!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Oh, it is indeed infamous!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>The whole affair will be still better proved to the Queen in a short +time. The young woman is here, as I told your Majesty. I had her +brought from her house last night.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Isn't this a sufficient crime for his execution, sir?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>What! To go to see a pretty girl by night! Oh, no, madame! Your +Majesty had Frogmorton tried for a similar crime. Frogmorton was +acquitted.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>I punished Frogmorton's judges.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Try not to have to punish Fabiani's judges.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>How shall I revenge myself on this traitor?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Your Majesty wants only a certain kind of revenge?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>The only kind worthy of me!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Frogmorton was acquitted, madame. There is only one way. I have +explained it to your Majesty. The man who is there!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Will he do whatever I wish?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>If you do all that he wishes.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Will he give his life?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>He will make his own conditions, but he will give his life.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What does he want? Do you know?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>What you yourself want—revenge!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Bid him come in, but stay you out there, within call, Sir Bailiff.</p> + +<p class="speaker">SIMON RENARD (<i>coming back</i>).</p> + +<p>Madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Tell my Lord Chandos to hold himself in the next room, with six men +of my ordinance, in readiness to appear. And the woman also, let her +be ready to appear. Go.</p> + +<p class="staging">[<i><span class="sc">Simon Renard</span> goes out.</i></p> + +<p>Oh! it would be frightful!</p> + +<p class="staging">[<i><span class="sc">The Queen</span> alone. A side door opens; <span class="sc">Simon Renard</span> and <span class="sc">Gilbert</span> +enter.</i></p> + + +<h4>SCENE III</h4> + +<p class="scene sc">The Queen, Gilbert, Simon Renard</p> + +<p class="speaker">GILBERT.</p> + +<p>Before whom do I stand?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Before the Queen.</p> + +<p class="speaker">GILBERT.</p> + +<p>The Queen!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Yes, the Queen. I am the Queen. There is no time for astonishment. +You, sir, are Gilbert, a workman, an engraver. You live somewhere +beyond the borders of the river, with a woman named Jane, who is your +betrothed, and who deceives you, whose lover is a man named Fabiano, +who deceives me. You want revenge, so do I. In order to get it, I +must be able to make any disposition I please of your life. It is +necessary that you should say what I command you to say, no matter +what it is. For you, there must be no longer either false or true, +good or bad, justice or injustice—nothing but my vengeance and my +will. I shall require you to let me act, and to let yourself be acted +upon. Do you consent?</p> + +<p class="speaker">GILBERT.</p> + +<p>Madame—</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You shall have your revenge; but I warn you, it will cost you your +life—that is all. Make your conditions. If you have an old mother +and you want her tablecloth covered with ingots of gold, speak, I +will do it. Sell me your life as dear as you please.</p> + +<p class="speaker">GILBERT.</p> + +<p>I am no longer willing to die, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What!</p> + +<p class="speaker">GILBERT.</p> + +<p>I have been thinking about it all night. Nothing is proved yet. I saw +a man who boasted that he was Jane's lover. How do I know that he did +not lie? I saw a key! How do I know that he did not steal it? I saw a +letter! How do I know that she was not forced to write it? I don't +even know whether it was her writing; it was dark, I was excited, I +could not see. I can't give up my life, which is her life, like that. +I don't believe any of it, I am not sure of any of it, I have not +seen Jane!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>It is easy to see that you love. You are like me, you refuse all the +proofs. But if you see her, your Jane, if you hear her confess the +crime, will you do what I wish?</p> + +<p class="speaker">GILBERT.</p> + +<p>Yes, upon one condition.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Tell it to me afterward. [<i>To <span class="sc">Simon Renard</span>.</i>] Bring this woman here +at once.</p> + +<p class="staging">[<i><span class="sc">Simon Renard</span> goes out. <span class="sc">The Queen</span> places <span class="sc">Gilbert</span> behind a +curtain which covers part of the background of the apartment.</i></p> + +<p>Stand there!</p> + +<p class="staging">[<i><span class="sc">Jane</span> enters, pale and trembling.</i></p> + + +<h4>SCENE IV</h4> + +<p class="scene"><i><span class="sc">The Queen; Jane; Gilbert</span> behind the curtain</i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>Approach, young woman. You know who we are?</p> + +<p class="speaker">JANE.</p> + +<p>Yes, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You know who is the man who seduced you?</p> + +<p class="speaker">JANE.</p> + +<p>Yes, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>He deceived you. He passed himself off for a nobleman called Amyas +Pawlet?</p> + +<p class="speaker">JANE.</p> + +<p>Yes, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You know now that it is Fabiano Fabiani, Earl of Clanbrassil?</p> + +<p class="speaker">JANE.</p> + +<p>Yes, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Last night, when they seized you in your house, you had given him a +rendezvous, you were waiting for him?</p> + +<p class="speaker">JANE (<i>wringing her hands</i>).</p> + +<p>Heavens, madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Answer!</p> + +<p class="speaker">JANE (<i>with feeble voice</i>).</p> + +<p>Yes.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You understand that there is no more hope, neither for him nor for +you?</p> + +<p class="speaker">JANE.</p> + +<p>Nothing but death! That is a hope!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Tell me all about it. Where did you meet this man first?</p> + +<p class="speaker">JANE.</p> + +<p>The first time I saw him was— But what is the use? A poor wretched +girl of the people, frivolous and vain, in love with jewels and fine +clothes, a girl dazzled with the handsome looks of a great lord—that +is all. I am seduced, I am dishonored, I am lost. There is nothing to +add to that. My God, madame, don't you see that each word I speak is +killing me?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Enough.</p> + +<p class="speaker">JANE.</p> + +<p>Your anger is terrible, I know it, madame. My head bends now beneath +the punishment you have prepared for me.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Punishment for you? Do you think I concern myself about you, +simpleton? Who are you, wretched creature, that the Queen should +concern herself about you? Oh, no! Fabiano is my affair. As for you, +madame, some one else will look out for your punishment.</p> + +<p class="speaker">JANE.</p> + +<p>Well, madame, whoever that one may be, whatever the punishment, I +will endure all without a murmur. I will even thank you if you will +listen to one prayer I am about to make. There is a man who took me +in, an orphan from my birth, who adopted me, brought me up, nourished +me, loved me, and who loves me still; a man of whom I am most +unworthy, toward whom I have been most guilty, and yet whose image +lies at the bottom of my heart, beloved, revered, sacred as is that +of God; a man who now, while I am speaking to you, finds his home +empty, deserted, robbed, who can't understand it, and who rends his +garments in anguish. Well, madame, what I ask of your Majesty is that +he may never understand, that I may disappear without his knowing +what has become of me, what I have done, or what you have done with +me. Alas, kind Heaven, I do not know how to make you understand, but +you ought to feel that I have a friend in him—a noble, generous +friend. Poor Gilbert! yes, it is true, he respects me and believes me +pure, and I do not want him to hate me and despise me! Oh, you +understand me, don't you, madame? That man's respect is a great deal +more to me than my life. And then it will make him suffer so +much—such a surprise! He won't believe it at first. No, he will not +believe it. My God! Poor Gilbert. Oh, madame, have pity on him and on +me! He has done you no harm! In the name of Heaven, keep him from +knowing the awful truth! In the name of Heaven, don't let him know +that I am guilty. He will kill himself. Don't let him know that I am +dead. He will die too.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>The man you are speaking of is here; he is listening to you; he will +judge you, he will punish you! [<i><span class="sc">Gilbert</span> appears.</i></p> + +<p class="speaker">JANE.</p> + +<p>Heavens! Gilbert!</p> + +<p class="speaker">GILBERT (<i>to the <span class="sc">Queen</span></i>).</p> + +<p>My life belongs to you, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Good. Have you any conditions to make?</p> + +<p class="speaker">GILBERT.</p> + +<p>Yes, madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What are they? We give you our royal word that we will grant them.</p> + +<p class="speaker">GILBERT.</p> + +<p>This, madame. It is very simple. It is a debt of gratitude I pay to +one of your noble lords, who employed me a great deal in my capacity +as engraver.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Speak!</p> + +<p class="speaker">GILBERT.</p> + +<p>This lord has a secret liaison with a woman whom he cannot marry +because she belongs to a proscribed family. This woman, who up to the +present time has lived in concealment, is the only daughter and +heiress of the last Lord Talbot, beheaded under King Henry VIII.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What? Are you sure of what you are saying? You say, John Talbot, the +good Catholic lord, the loyal defender of my mother of Aragon, has +left a daughter? Upon my crown, if that is true, this child is my +daughter. And what John Talbot did for the mother of Mary of England, +Mary of England will do for the daughter of John Talbot.</p> + +<p class="speaker">GILBERT.</p> + +<p>Then, of course, it will be a pleasure to your Majesty to give back +Lord Talbot's estates to his daughter?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Yes, truly, and to take them away from Fabiano. But are there proofs +that this heiress exists?</p> + +<p class="speaker">GILBERT.</p> + +<p>There are!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>And if there are not, we will make them! We are not a queen for +nothing!</p> + +<p class="speaker">GILBERT.</p> + +<p>Your Majesty will give back to Lord Talbot's daughter the estates, +lands, rank, coat-of-arms, and device of her father. Your Majesty +will remove her from all proscription, and will guarantee that her +life shall be safe. Your Majesty will marry her to this lord, who is +the only man she can marry. Upon these conditions, madame, you can +dispose of me, of my liberty, of my life, and of my will as you see +fit.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Good! I will do what you have asked.</p> + +<p class="speaker">GILBERT.</p> + +<p>Your Majesty will do what I have asked? The Queen of England swears +it to me, Gilbert the engraver, upon her crown which is here, and +upon the open gospel which is there?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Upon the royal crown which is here, and the divine gospel which is +there, I swear it.</p> + +<p class="speaker">GILBERT.</p> + +<p>The compact is concluded, madame. Have a tomb prepared for me and a +nuptial bed prepared for the lovers. The lord I speak of is Fabiani, +Earl of Clanbrassil. Talbot's heiress, behold her!</p> + +<p class="speaker">JANE.</p> + +<p>What does he say?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Am I dealing with a fool? What do you mean? Have a care, sir! You are +bold to mock the Queen of England! In the royal chambers people +should look to their words; there are times when the lips bring the +head to the block!</p> + +<p class="speaker">GILBERT.</p> + +<p>You have my head, madame; I have your oath.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You do not mean to say you are speaking seriously? This Fabiano—this +Jane! Come, come!</p> + +<p class="speaker">GILBERT.</p> + +<p>This Jane is the daughter and the heiress of Lord Talbot.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Bah! Nonsense! Delusion! Fancy! Have you got the proofs?</p> + +<p class="speaker">GILBERT.</p> + +<p>Complete!</p> + +<p class="staging">[<i>He takes a packet from his breast.</i></p> + +<p>Read these papers.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Have I time to read your papers? Did I ask for your papers? What do +your papers matter to me? If they prove anything, upon my soul, I +will throw them into the fire and nothing will be left of them.</p> + +<p class="speaker">GILBERT.</p> + +<p>Nothing but your oath, madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>My oath, my oath!</p> + +<p class="speaker">GILBERT.</p> + +<p>Upon the crown and upon the gospel, madame; that is to say, on your +head and your soul—on your life in this world, and on your life in +the next.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>But what do you want? Oh, I swear you are mad!</p> + +<p class="speaker">GILBERT.</p> + +<p>What do I want? Jane has lost her rank, give it back to her! Jane has +lost her honor, give it back to her! Proclaim her the daughter of +Lord Talbot and the wife of Lord Clanbrassil, and then take my life.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Your life! What do you want me to do with your life then? I didn't +want it except to use for vengeance on this man—this Fabiano. You +can't understand anything at all, can you? Well! I can't understand +you, either. You talked about vengeance! That is the way you avenge +yourself, is it? These men of the people are stupid! And after all, +do you suppose I believe your ridiculous story about an heiress of +Talbot? The papers! You show me papers! I won't look at them. Oh, a +woman wrongs you, and you play the magnanimous. Well, do it if it +suits you! I am not magnanimous! No! My heart is full of rage and +hate. I will avenge myself and you shall help me! Oh, but this man is +mad, mad, mad! My God! why do I need him? It is exasperating to have +to deal with people like this, at such a serious time.</p> + +<p class="speaker">GILBERT.</p> + +<p>I have your word, as Catholic Queen. Lord Clanbrassil has seduced +Jane; he shall marry her!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>And if he refuses to marry her?</p> + +<p class="speaker">GILBERT.</p> + +<p>You will force him to do it.</p> + +<p class="speaker">JANE.</p> + +<p>Oh, no! Have pity upon me, Gilbert!</p> + +<p class="speaker">GILBERT.</p> + +<p>Well, then, if this infamous wretch refuses, your Majesty can do what +she pleases with him and with me!</p> + +<p class="speaker">THE QUEEN (<i>with joy</i>).</p> + +<p>Ah, that is all I ask!</p> + +<p class="speaker">GILBERT.</p> + +<p>In that case, I will do everything the Queen commands, provided the +crown of the Countess of Waterford is solemnly replaced by the Queen +on the sacred and inviolable head of Jane, who stands here!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Everything?</p> + +<p class="speaker">GILBERT.</p> + +<p>Everything! Even a crime, if it is a crime you want. I will not stop +at treachery, which is more than a crime; nor at infamy, which is +more than treachery.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You will say what I want you to say? You will die the death that I +want you to die?</p> + +<p class="speaker">GILBERT.</p> + +<p>The death that you want me to die!</p> + +<p class="speaker">JANE.</p> + +<p>Oh, my God!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You swear it?</p> + +<p class="speaker">GILBERT.</p> + +<p>I swear it!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Then it is settled. It is enough! I have your word, you have mine! It +is agreed.</p> + +<p class="staging">[<i>She seems to reflect a moment.</i></p> + +<p class="staging">[<i>To <span class="sc">Jane</span>.</i>] You are not needed here: go out. I will send for you.</p> + +<p class="speaker">JANE.</p> + +<p>Oh, Gilbert, what is this you have done? Oh, Gilbert, I am a wretched +creature, and I don't dare to raise my eyes to you. Oh, Gilbert, you +are more than an angel, for you have the virtues of an angel and a +man's passions at the same time. [<i>She goes out.</i></p> + + +<h4>SCENE V</h4> + +<p class="scene"><i><span class="sc">The Queen, Gilbert</span>, afterward <span class="sc">Simon Renard, Lord Chandos</span>, and +the Guards</i></p> + +<p class="speaker">THE QUEEN (<i>to <span class="sc">Gilbert</span></i>).</p> + +<p>Have you a weapon about you? A knife, a dagger, anything!</p> + +<p class="speaker">GILBERT (<i>drawing from his breast <span class="sc">Lord Clanbrassil's</span> dagger</i>).</p> + +<p>A dagger? Yes, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Good! Hold it in your hand!</p> + +<p class="staging">[<i>She seizes his arm quickly.</i></p> + +<p>Sir bailiff D'Amont! Lord Chandos!</p> + +<p class="staging">[<i>Enter <span class="sc">Simon Renard, Lord Chandos</span>, and Guards.</i></p> + +<p>Seize this man! He has threatened my life, with his dagger! I seized +his arm as he was about to strike me. He is an assassin!</p> + +<p class="speaker">GILBERT.</p> + +<p>Madame!</p> + +<p class="speaker">THE QUEEN (<i>low to <span class="sc">Gilbert</span></i>).</p> + +<p>Have you forgotten your agreement so soon? Is this the way you let me +use you? [<i>Aloud.</i>] You are all witnesses that he had a dagger in his +hand. Sir Bailiff, what is the name of the executioner of the Tower +of London?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>He is an Irishman called Mac Dermot.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Send for him. I want to speak to him.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Yourself?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Myself.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>The Queen will speak to the executioner!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Yes, the Queen will speak to the executioner. The head will speak to +the hand! Send for him.</p> + +<p class="staging">[<i>A Guard goes out.</i></p> + +<p>My Lord Chandos, and you, gentlemen, will answer to me for this man. +Keep him there among you, back of you. Certain things are about to +happen here which he must witness. Sir Lieutenant d'Amont, is Lord +Clanbrassil in the palace?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>He is there, in the painted chamber, awaiting the Queen's good +pleasure to see him.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Does he suspect anything?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Nothing.</p> + +<p class="speaker">THE QUEEN (<i>to <span class="sc">Lord Chandos</span></i>).</p> + +<p>Let him come in!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>The entire Court is also waiting there. Will nobody be admitted +before Lord Clanbrassil?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Who are those among our nobles who hate Fabiani?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>All!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Which hate him the most?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Clinton, Montague, Somerset, Earl of Derby, Gerard Fitz-Gerard, Lord +Paget, and the Lord Chancellor.</p> + +<p class="speaker">THE QUEEN (<i>to <span class="sc">Lord Chandos</span></i>).</p> + +<p>Admit them all—except the Lord Chancellor. Go! [<i><span class="sc">Chandos</span> goes +out.</i></p> + +<p class="staging">[<i>To <span class="sc">Simon Renard</span>.</i>] The worthy Bishop Chancellor is not any fonder +of Fabiani than the rest, but he is a more scrupulous man.</p> + +<p class="staging">[<i>Noticing the papers which <span class="sc">Gilbert</span> left upon the table.</i></p> + +<p>Ah, I must look over these papers!</p> + +<p class="staging">[<i>While she is examining them, the door in the background opens. +Those lords designated by <span class="sc">The Queen</span> enter, making profound +salutations.</i></p> + + +<h4>SCENE VI</h4> + +<p class="scene"><i>The same. <span class="sc">Lord Clinton</span> and the other lords.</i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>Good-day, gentlemen! God be with you, my lords! [<i>To <span class="sc">Lord +Montague</span>.</i>] Anthony Brown, I do not forget that you held your own +most worthily against John of Montmorency and the Count of Toulouse +during my negotiations with my uncle, the Emperor! Lord Paget, to-day +you will receive your letters patent of Baron Paget de Beaudesert in +Stafford. And this is our old friend, Lord Clinton. We are always +your good friend, my lord. It was you who exterminated Thomas Wyatt +in St. James's Field. Let us all remember it, my lords. The crown of +England was saved that day by a bridge which enabled my troops to +reach the rebels, and by a wall which prevented the rebels from +reaching me! The bridge was London Bridge. The wall was my Lord +Clinton!</p> + +<p class="speaker">LORD CLINTON (<i>low to <span class="sc">Simon Renard</span></i>).</p> + +<p>The Queen has not spoken to me for six months. How kind she is +to-day!</p> + +<p class="speaker">SIMON RENARD (<i>low to <span class="sc">Lord Clinton</span></i>).</p> + +<p>Patience, my lord. She will be kinder still, by-and-by.</p> + +<p class="speaker">THE QUEEN (<i>to <span class="sc">Lord Chandos</span></i>).</p> + +<p>My Lord Clanbrassil may enter. [<i>To <span class="sc">Simon Renard</span>.</i>] After he has +been here a few moments—</p> + +<p class="staging">[<i>She speaks to him in a low voice and indicates the door through +which <span class="sc">Jane</span> passed.</i></p> + +<p class="speaker">SIMON RENARD.</p> + +<p>I understand, madame. [<i><span class="sc">Fabiani</span> enters.</i></p> + + +<h4>SCENE VII</h4> + +<p class="scene"><i>The same.</i> <span class="sc">Fabiani</span></p> + +<p class="speaker">THE QUEEN.</p> + +<p>Ah, here he is!</p> + +<p class="staging">[<i>She continues to speak to <span class="sc">Simon Renard</span> in a low voice.</i></p> + +<p class="speaker">FABIANI (<i>everybody salutes him; he looks around him. Aside</i>).</p> + +<p>What does this mean? There are only my enemies here, this morning! +The Queen is speaking in a low tone to Simon Renard. The devil! She +is laughing! It is a bad sign.</p> + +<p class="speaker">THE QUEEN (<i>graciously to <span class="sc">Fabiani</span></i>).</p> + +<p>God be with you, my lord!</p> + +<p class="speaker">FABIANI (<i>seizing her hand which he kisses</i>).</p> + +<p>Madame— [<i>Aside.</i>] She smiled at me! The danger is not for me!</p> + +<p class="speaker">THE QUEEN (<i>still graciously</i>).</p> + +<p>I want to speak to you.</p> + +<p class="staging">[<i>She advances to the front of the stage with him.</i></p> + +<p class="speaker">FABIANI.</p> + +<p>And I also, I want to speak to you, madame. I have a right to +reproach you! To keep me away, to exile me so long! Ah, it wouldn't +be thus if you thought of me during these hours of absence as I think +of you!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You are unjust. Since you left me, I have thought of no one but you!</p> + +<p class="speaker">FABIANI.</p> + +<p>Is that really true? Does so much happiness belong to me? Say it to +me again!</p> + +<p class="speaker">THE QUEEN (<i>always smiling</i>).</p> + +<p>I swear it to you!</p> + +<p class="speaker">FABIANI.</p> + +<p>Then you do indeed love me as I love you?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Yes, my lord! Truly, I have thought of no one but you. So much so, +that I have tried to plan a pleasant surprise for your return.</p> + +<p class="speaker">FABIANI.</p> + +<p>What do you mean? What surprise?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>A meeting which will give you pleasure!</p> + +<p class="speaker">FABIANI.</p> + +<p>A meeting with whom?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Guess! Can't you guess?</p> + +<p class="speaker">FABIANI.</p> + +<p>No, madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Turn around!</p> + +<p class="staging">[<i>He turns and sees <span class="sc">Jane</span> on the threshold of the little door, which +is half open.</i></p> + +<p class="speaker">FABIANI (<i>aside</i>).</p> + +<p>Jane!</p> + +<p class="speaker">JANE (<i>aside</i>).</p> + +<p>It is he!</p> + +<p class="speaker">THE QUEEN (<i>with the same smile</i>).</p> + +<p>My lord, do you know this young woman?</p> + +<p class="speaker">FABIANI.</p> + +<p>No, madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Young woman, do you know this lord?</p> + +<p class="speaker">JANE.</p> + +<p>Truth before life! Yes, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>So, my lord, you do not know this woman?</p> + +<p class="speaker">FABIANI.</p> + +<p>Madame, this is a conspiracy. I am surrounded by enemies. This woman +is doubtless in league with them. I do not know her, madame! I do not +even know who she is, madame!</p> + +<p class="speaker">THE QUEEN (<i>rising and striking him in the face with her glove</i>).</p> + +<p>Ah, you are a coward! You betray one and disown the other! You don't +even know who she is? Do you want me to tell you? This woman is Jane +Talbot, daughter of John Talbot, the good Catholic lord who perished +on the scaffold for my mother. This woman is Jane Talbot, my cousin: +Jane Talbot, Countess of Shrewsbury, Countess of Wexford, Countess of +Waterford, peeress of England. That is who she is, this woman! Lord +Paget, you are commissioner of the private seal; you will remember +our words. The Queen of England solemnly recognizes this woman here +present, as Jane, daughter and sole heiress of the last Earl of +Waterford. [<i>Showing the papers.</i>] Here are the titles and the +proofs, which you will have sealed with the great seal. It is our +will.</p> + +<p class="staging">[<i>To <span class="sc">Fabiani</span></i>] Yes, Countess of Waterford, and it is proved! And +you will give back her estates, you wretched man! Ah, you don't know +this woman? You don't know who she is? Well, I am telling you! It is +Jane Talbot. Shall I tell you more yet?</p> + +<p class="staging">[<i>Looking him in the face, in a low voice, between her teeth.</i></p> + +<p>Coward, she is your mistress!</p> + +<p class="speaker">FABIANI.</p> + +<p>Madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>That is what she is! Now, this is what you are! You are a man without +soul, a man without heart, a man without brains. You are a liar and a +villain! You are—By my faith, gentlemen, you need not draw away. I +am quite willing you should hear what I have to say to this man. I am +not lowering my voice, it seems to me. Fabiano, you are a wretch; a +traitor to me, a coward to her; a lying lackey, the most vile, the +lowest of all men. Yet it is true, I made you Earl of Clanbrassil, +Baron of Dinasmonddy and what more? Baron of Darmouth in Devonshire. +Ah, well! I was an idiot! My lords, I ask your pardon for having +forced you to be elbowed by that man there. You, a knight! you, a +noble! you, a lord! Compare yourself a little with those who are +such. Look! look around you! There stand noblemen. There is Bridges, +Baron Chandos; there is Seymour, Duke of Somerset. There are the +Stanleys, who have been Earls of Derby since 1485. There are the +Clintons, who have been barons since 1298. Do you imagine you are +like these people—you? You say that you are allied to the Spanish +family of Peñalver, but it is not true; you are only a bad Italian. +Nothing—worse than nothing! Son of a shoemaker in the village of +Larino! Yes, gentlemen, the son of a shoemaker! I knew it, and I did +not tell it; I concealed it, and I made believe I credited this man +when he talked about his nobility. That is the way we are, we women. +Oh, Heaven! I wish there were women here; it would be a lesson to +them all. This scoundrel! this scoundrel! he betrays one woman and +disowns the other. Infamous creature! Oh, yes, indeed you are +infamous. What! I have been speaking all this time and he is not yet +on his knees? On your knees, Fabiani! My lords, force this man to +kneel!</p> + +<p class="speaker">FABIANI.</p> + +<p>Your Majesty—</p> + +<p class="speaker">THE QUEEN.</p> + +<p>This creature whom I have loaded with benefits! this Neapolitan +lackey whom I have made a noble knight and a proud earl of England. +Ah, I ought to have expected this! But I am always like that; I am +obstinate, and afterward I see that I am wrong. It is my fault. +Italian stands for liar: Neapolitan for coward. Every time that my +father made use of an Italian, he repented of it. This Fabiani! You +see Lady Jane, unfortunate child, to what a man you have surrendered +yourself! But I will avenge you. Oh, I ought to have known it from +the first. You will find nothing in an Italian's pocket but a +stiletto, nothing in his soul but treachery.</p> + +<p class="speaker">FABIANI.</p> + +<p>Madame, I swear to you—</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Good! Now he will perjure himself; he will descend to the depths of +infamy; he will make us blush to our finger-tips before these men—we +women who have loved him. He will not even lift up his head!</p> + +<p class="speaker">FABIANI.</p> + +<p>Yes, madame, I will lift it up! I am lost; I see it clearly. My death +is decided. You will make use of every means, dagger, poison—</p> + +<p class="speaker">THE QUEEN (<i>taking hold of both his hands and dragging him violently +to the front of the stage</i>).</p> + +<p>Poison! Dagger! What are you saying, Italian? A treacherous +vengeance, a disgraceful vengeance—a vengeance from the back, a +vengeance such as you take in your country? No, Signor Fabiani, +neither dagger nor poison. Do I have to conceal myself? Do I have to +hide in the corners of the street at night and make myself small when +I want revenge? No, by my faith, I want the daylight! Do you hear, my +lord?—the full noonday, the bright sun, the public square, the ax +and the stake, the crowds in the street, the crowds at the windows, +the crowds on the roofs! A hundred thousand witnesses! I want people +to be afraid, do you hear, my lord? I want them to think it splendid, +frightful, magnificent. I want them to say, "It is a woman who has +been wronged, but it is a Queen who takes revenge!" This much envied +favorite, this handsome, insolent young man, whom I have dressed in +velvets and satins, I want to see him bent double, terrified and +trembling, on his knees before a black cloth, with naked feet, with +manacled wrists, hissed by the people, fingered by the executioner. +On this white neck, where I have put a golden collar, I want to put a +rope. I have seen how Fabiani looks upon a throne, I want to see how +he looks upon a scaffold.</p> + +<p class="speaker">FABIANI.</p> + +<p>Madame—</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Not a word! Not a word! You are indeed lost, as you say. You will +mount the scaffold as did Suffolk and Northumberland. This will be a +festival such as I have given before to my good city of London. You +know how she hates you, this good city of mine! Faith, when one wants +vengeance, it's a good thing to be Mary, Queen of England, daughter +of Henry VIII. and mistress of four seas. When you are on the +scaffold, you can make a long speech to the people, if you like, as +Northumberland did, or a long prayer to God, as Suffolk did, in order +to give pardon the time to arrive; but God is my witness that you are +a traitor, and the pardon will not come. This wretched liar who +talked of love to me, and this morning even said "thou" to me—Eh, +gentlemen, it seems to amaze you that I talk thus openly before you; +but I repeat it, what do I care?</p> + +<p class="staging">[<i>To <span class="sc">Lord Somerset</span>.</i>] My lord duke, you are constable of the Tower; +demand this man's sword!</p> + +<p class="speaker">FABIANI.</p> + +<p>Here it is; but I protest. Admitting that it is proved that I +deceived or seduced a woman—</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What does it matter to me whether you have seduced a woman? Do I +concern myself about that? These gentlemen are witnesses, it is a +matter of indifference to me!</p> + +<p class="speaker">FABIANI.</p> + +<p>The seduction of a woman is not a capital offense, madame. Your +Majesty could not procure Frogmorton's condemnation upon the same +accusation!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>I believe he defies us now! The worm has become a serpent. Who says +you are accused of that?</p> + +<p class="speaker">FABIANI.</p> + +<p>Of what else am I accused? I am not an Englishman; I am no subject of +your Majesty. I am a subject of the King of Naples and a vassal of +the Holy Father. I will appeal to his embassador, the eminent +Cardinal Polus, to save me. I will defend myself, madame. I am a +stranger! I cannot be tried unless I have committed a crime—a real +crime. What is my crime?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You ask what your crime is?</p> + +<p class="speaker">FABIANI.</p> + +<p>Yes, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You all hear this question that he has asked, my lords? You shall +hear the answer. Listen, and look out for yourselves, all of you, +however great you may be, because you will see that I need only stamp +upon the earth with my foot to bring from out of it a scaffold. +Chandos, open that folding-door. Call the Court—every one! Bid every +one enter.</p> + +<p class="staging">[<i>The door at the back is opened. The entire Court enters.</i></p> + + +<h4>SCENE VIII</h4> + +<p class="scene"><i>The same. The <span class="sc">Lord Chancellor</span>, all the Court</i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>Enter, enter, my lords! I am truly pleased to see you to-day. Good! +good! The officers of the law this way: nearer, nearer! Where are the +sergeants-at-arms of the House of Lords? Harriot and Herbert? Ah, +there you are, gentlemen! Be welcome! Draw your swords. Good! Place +yourselves at the right and at the left of that man. He is your +prisoner.</p> + +<p class="speaker">FABIANI.</p> + +<p>Madame, what is my crime?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>My Lord Gardiner, my learned friend, you are chancellor of England. +We order you and the twelve lord commissioners of the Star Chamber, +whom we regret not to see here, to assemble yourselves in haste. +Strange things are passing in this palace. Listen, my lords! Madame +Elizabeth has raised more than one enemy to our crown. We have had +the Pietro Caro plot—that man who started the Exeter movement, and +who communicated with Madame Elizabeth by means of a cipher cut on +her guitar. We have had the treachery of Thomas Wyatt who roused the +county of Kent. We have had the rebellion of the Duke of Suffolk, who +was captured in the hollow of a tree, after his followers were +defeated. To-day we have a new attempt. Listen, all of you. To-day, +this morning, a man presented himself at my audience. After a few +words, he drew his dagger on me. I stopped his hand in time. Lord +Chandos and the bailiff D'Amont seized the man. He says that he was +urged to the crime by Lord Clanbrassil.</p> + +<p class="speaker">FABIANI.</p> + +<p>By me! It is not true! This is a frightful thing! This man does not +exist. This man cannot be found! Who is he? Where is he?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>He is here!</p> + +<p class="speaker">GILBERT (<i>coming out from among the soldiers, behind whom he has been +hidden up to this time</i>).</p> + +<p>I am the man!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>According to this man's declarations, we Mary, Queen, accuse before +the Star Chamber this other man, Fabiano Fabiani, Earl of +Clanbrassil, of high treason, and of an attempt of regicide upon our +imperial and sacred person.</p> + +<p class="speaker">FABIANI.</p> + +<p>Regicide? I? This is monstrous. Oh, my brain is bewildered! I cannot +see clear! What is this trap? Whoever you may be, wretched creature, +dare you affirm that what the Queen says is true?</p> + +<p class="speaker">GILBERT.</p> + +<p>Yes!</p> + +<p class="speaker">FABIANI.</p> + +<p>I urged you to regicide?</p> + +<p class="speaker">GILBERT.</p> + +<p>Yes.</p> + +<p class="speaker">FABIANI.</p> + +<p>Yes, always yes! Malediction! Oh, it is impossible for you to know +how false that is, gentlemen. That man comes from hell! Unfortunate +wretch, you want to ruin me, but don't you see that you ruin yourself +in the same breath? The crime you charge upon me falls upon you too. +You will send me to the block, but you will die also. Madman, with a +single word you cause two heads to fall! Did you know that?</p> + +<p class="speaker">GILBERT.</p> + +<p>I know it.</p> + +<p class="speaker">FABIANI.</p> + +<p>My lords, this man is bribed—</p> + +<p class="speaker">GILBERT.</p> + +<p>By you. Here is the purse full of gold which you paid me for the +crime. Your crest and your monogram are embroidered upon it.</p> + +<p class="speaker">FABIANI.</p> + +<p>Just Heaven! But you don't show me the dagger with which this man, it +is said, attempted to strike the Queen. Where is the dagger?</p> + +<p class="speaker">LORD CHANDOS.</p> + +<p>Here it is!</p> + +<p class="speaker">GILBERT (<i>to <span class="sc">Fabiani</span></i>).</p> + +<p>It is yours. You gave it to me for that purpose. They will find the +sheath at your house!</p> + +<p class="speaker">THE LORD CHANCELLOR.</p> + +<p>Earl of Clanbrassil, what reply do you make? Do you recognize this +man?</p> + +<p class="speaker">FABIANI.</p> + +<p>No!</p> + +<p class="speaker">GILBERT.</p> + +<p>In truth, he only saw me by night. Let me whisper two words to him, +madame, they will help his memory. [<i>He approaches <span class="sc">Fabiani</span>.</i>] My +lord, you appear to recognize no one to-day—neither the man you have +wronged, nor the woman you have seduced. Ah, the Queen avenges +herself; but the man of the people, he avenges himself also. You +defied me to do it, I think. Behold yourself caught between a double +vengeance, my lord! What do you say to that? I am Gilbert the +engraver!</p> + +<p class="speaker">FABIANI.</p> + +<p>Yes, I recognize you. My lords, I recognize this man. Since it is +with him I have to deal, I have nothing more to say.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>He confesses!</p> + +<p class="speaker">THE LORD CHANCELLOR (<i>to <span class="sc">Gilbert</span></i>).</p> + +<p>According to Norman law and Statute 25, Henry VIII., in a case of +high treason of the first degree, a confession does not save the +accomplice. Do not forget, it is a case wherein the Queen has not the +right of mercy, and you will die upon the scaffold as well as the man +you accuse. Therefore reflect! Do you confirm all you have said?</p> + +<p class="speaker">GILBERT.</p> + +<p>I know that I shall die, and I confirm it.</p> + +<p class="speaker">JANE (<i>aside</i>).</p> + +<p>My God! if this is a dream, it is very horrible.</p> + +<p class="speaker">THE LORD CHANCELLOR (<i>to <span class="sc">Gilbert</span></i>).</p> + +<p>Are you willing to repeat your statements with your hand upon the +gospel?</p> + +<p class="staging">[<i>He presents the gospel to <span class="sc">Gilbert</span>, who puts his hand upon it.</i></p> + +<p class="speaker">GILBERT.</p> + +<p>With my hand upon the gospel, and my approaching death before my +eyes, I swear that this man is an assassin; that this dagger, which +is his, was used for the crime; that this purse, which is his, was +given to me in payment for the crime. May God help me! It is the +truth!</p> + +<p class="speaker">THE LORD CHANCELLOR (<i>to <span class="sc">Fabiani</span></i>).</p> + +<p>My lord, what have you to say?</p> + +<p class="speaker">FABIANI.</p> + +<p>Nothing! I am lost.</p> + +<p class="speaker">SIMON RENARD (<i>low to <span class="sc">The Queen</span></i>).</p> + +<p>Your Majesty sent for the executioner. He is there!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Good! Let him come in!</p> + +<p class="staging">[<i>The row of noblemen divides and the Executioner appears; he is +dressed in red and black, and on his shoulder bears a long sword in +its scabbard.</i></p> + + +<h4>SCENE IX</h4> + +<p class="scene"><i>The same.</i> <span class="sc">Executioner</span></p> + +<p class="speaker">THE QUEEN.</p> + +<p>My lord Duke of Somerset, these two men to the Tower! My Lord +Gardiner, our chancellor, let their trial before the twelve peers of +the Star Chamber commence to-morrow, and may God keep watch over +England. We expect them to be judged, both of them, before we leave +for Exford, where we are to open Parliament, and for Windsor, where +we are to spend Easter.</p> + +<p class="staging">[<i>To the <span class="sc">Executioner</span>.</i>] Approach! I am glad to see you! You are a +faithful servant. You are old; you have already witnessed three +reigns. It is customary for the sovereigns of this kingdom to make +you as costly a gift as possible, upon their ascension. My father, +Henry VIII., gave you the diamond clasp of his cloak. My brother, +Edward VI., gave you a goblet of chased gold. It is my turn now; I +have not given you anything yet. I must give you a present. Come +nearer! [<i>Indicating <span class="sc">Fabiani</span>.</i>] Do you see that head—that young, +adorable head; that head, which, up to this morning, was the dearest, +the most precious thing to me, in all my kingdom? Well! that +head—look at it well—I give it to you!</p> + + + +<h3>THIRD DAY</h3> + +<p class="center">PART I</p> + +<p class="center">WHICH OF THE TWO?</p> + +<p><span class="sc">Scene.</span>—<i>Hall in the interior of the Tower of London. Pointed arch +upheld by large pillars. To the right and to the left two low doors +to two cells. To the right a dormer-window, which is supposed to +overlook the Thames. To the left a dormer-window, which is supposed +to overlook the streets. On each side a door concealed in the wall. +In the background, a gallery with a sort of balcony shut in by glass +and overlooking the exterior courts of the Tower</i></p> + + +<h4>SCENE I</h4> + +<p class="scene sc">Gilbert, Joshua</p> + +<p class="speaker">GILBERT.</p> + +<p>Well?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Alas!</p> + +<p class="speaker">GILBERT.</p> + +<p>No more hope?</p> + +<p class="speaker">JOSHUA.</p> + +<p>No more hope. [<i><span class="sc">Gilbert</span> goes to the window.</i></p> + +<p>You won't see anything from the window.</p> + +<p class="speaker">GILBERT.</p> + +<p>You inquired, didn't you?</p> + +<p class="speaker">JOSHUA.</p> + +<p>I am only too sure.</p> + +<p class="speaker">GILBERT.</p> + +<p>It is for Fabiani?</p> + +<p class="speaker">JOSHUA.</p> + +<p>It is for Fabiani.</p> + +<p class="speaker">GILBERT.</p> + +<p>How fortunate that man is! Maledictions on me!</p> + +<p class="speaker">JOSHUA.</p> + +<p>Poor Gilbert! Your turn will come! To-day, it is he; to-morrow it +will be you!</p> + +<p class="speaker">GILBERT.</p> + +<p>What do you say? We are not thinking of the same thing. What are you +talking about?</p> + +<p class="speaker">JOSHUA.</p> + +<p>About the scaffold which they are building.</p> + +<p class="speaker">GILBERT.</p> + +<p>And I—I am speaking of Jane!</p> + +<p class="speaker">JOSHUA.</p> + +<p>Of Jane?</p> + +<p class="speaker">GILBERT.</p> + +<p>Yes, of Jane! Only of Jane. What does the rest matter to me? You have +forgotten, have you? You don't remember that for one whole month, +glued to the bars of my cell, from which I can look into the street, +I have watched her, pale and sad, wandering around the base of this +tower, which holds two men, Fabiani and me. You have forgotten all +about my anguish, have you, and my doubts, my misgivings? For which +of us does she come? Poor wretch, I ask myself this question day and +night. I asked you, Joshua; and last night you promised to try to see +her, and speak to her. Oh, tell me! Did you learn anything! Is it for +me she comes, or is it for Fabiani?</p> + +<p class="speaker">JOSHUA.</p> + +<p>I learned that Fabiani is certainly to be beheaded to-day, and you +to-morrow, and from that moment I confess I lost my head, Gilbert. +The scaffold drove Jane entirely out of my thoughts. Your death—</p> + +<p class="speaker">GILBERT.</p> + +<p>My death! What do you mean by that word! My death is that Jane loves +me no longer. From the day that I was no longer beloved, I was dead. +Oh, yes! truly dead. Joshua, what has remained of me since that time +won't be worth taking to-morrow. Oh, Joshua, you don't know, you +can't understand what a man is when he loves. If any one had said to +me, two months ago, "Jane, your Jane without reproach, your Jane so +pure, your love, your pride, your lily, your treasure, Jane will give +herself to another; will you take her then?" I should have said, "No, +I will not have her! rather death a thousand times for her and for +myself." And I should have crushed under my feet any one who had +dared to speak to me like that. If I would take her?—To-day, you +know, Jane is no longer the Jane without stain, whom I adored, the +Jane whose brow I hardly dared touch with my lips. Jane has given +herself to another—to a wretch! I know it—and—well, it's all the +same to me. I love her! My heart is broken, but I love her! I would +kiss the hem of her dress, and I would ask her pardon, if she would +only take me. She might be in the gutter with those who belong there, +and I would take her out, and I would hold her close to my heart, +Joshua! Joshua, I would give, not a hundred years of life, since I no +longer possess one day, but the eternity which will be mine +to-morrow, just to see her smile at me once more—just once more +before my death—and to have her say to me those dear words she used +to say, "I love you." Joshua, Joshua, that is the way a man's heart +is, when he loves. You think you would kill the woman who betrays +you? No, you wouldn't kill her; you would lie at her feet afterward, +the same as before, only you would be sad. You think I am weak? What +should I have gained in killing Jane? Oh, my heart will burst with +all these unbearable thoughts! If she only loved me now, what would +it matter to me, what she has done? But she loves Fabiani! But she +loves Fabiani! It is for Fabiani that she comes here! There is one +thing that is sure, it is that I want to die. Have pity on me, +Joshua!</p> + +<p class="speaker">JOSHUA.</p> + +<p>Fabiani will die to-day.</p> + +<p class="speaker">GILBERT.</p> + +<p>And I to-morrow.</p> + +<p class="speaker">JOSHUA.</p> + +<p>God is above all.</p> + +<p class="speaker">GILBERT.</p> + +<p>I will be revenged on him to-day. To-morrow, he will be revenged on +me!</p> + +<p class="speaker">JOSHUA.</p> + +<p>My brother, here is the second constable of the Tower, Master Eneas +Dulverton. You must go in. I will see you again to-night.</p> + +<p class="speaker">GILBERT.</p> + +<p>Oh, to die without being beloved! To have no one to weep for us! +Jane! Jane! Jane!</p> + +<p class="staging">[<i>Re-enters his cell.</i></p> + +<p class="speaker">JOSHUA.</p> + +<p>Poor Gilbert! Good God! Who could have foretold that what has +happened would happen?</p> + +<p class="staging">[<i>Goes out. Enter <span class="sc">Simon Renard</span> and <span class="sc">Master Eneas</span>.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene sc">Simon Renard, Master Eneas Dulverton</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>As you say, it is very extraordinary. But what can you expect? The +Queen is crazy. She doesn't know what she wants. You can't count upon +anything. She is a woman. I would like to know what she is here for. +Well! a woman's heart is a riddle of which King Francis I. wrote the +solution on that pane of glass at Chambord—</p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">"A woman's heart is most capricious;</span><br /> + <span class="i0">Who trusts her, finds life not propitious."</span></div> +</div> + +<p>Listen to me, Master Eneas. We are old friends; we must get through +with this thing to-day. Everything here depends upon you. If you are +ordered—[<i>He whispers to Eneas</i>] be slow about it; let it fall +through skillfully. Let me have two clear hours before me to-night, +and what I want will be accomplished; to-morrow there will be no +favorite. I shall be all-powerful, and you will be baronet and +lieutenant of the Tower the day after. Do you understand?</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>I understand.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Very well. Some one is coming. We must not be seen together. Go out +that way. I am going to meet the Queen. [<i>They separate.</i></p> + + +<h4>SCENE III</h4> + +<p class="scene"><i><span class="sc">A Jailer</span> enters with caution, then ushers in <span class="sc">Lady Jane</span>.</i></p> + +<p class="speaker">THE JAILER.</p> + +<p>You are where you wished to be, my lady. Here are the doors to the +two cells. My recompense, now, if you please.</p> + +<p class="staging">[<i><span class="sc">Jane</span> unfastens her diamond bracelet and gives it to him.</i></p> + +<p class="speaker">JANE.</p> + +<p>There it is.</p> + +<p class="speaker">THE JAILER.</p> + +<p>Thanks. Don't compromise me.</p> + +<p class="staging">[<i>He goes out.</i></p> + +<p class="speaker">JANE (<i>alone</i>).</p> + +<p>Kind Heaven! What shall I do? It is I who have destroyed him. I must +be the one to save him! I can never do it, never! A woman can do +nothing! The scaffold— The scaffold! Oh, it is horrible! Come, no +more tears; let us have action! I never can do it! I never can do it! +Have mercy on me, my God! I think some one is coming. Whose voice is +that? I recognize it. It is the Queen's voice! Ah, all is lost!</p> + +<p class="staging">[<i>She hides behind a pillar. <span class="sc">The Queen</span> and <span class="sc">Simon Renard</span> enter.</i></p> + + +<h4>SCENE IV</h4> + +<p class="scene"><i><span class="sc">The Queen; Simon Renard; Jane</span>, concealed</i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>Ah, the change surprises you? I am no longer myself? Well, what does +that matter to me? It is the truth! I don't want him to die—now!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Yet yesterday, your Majesty ordered the execution to take place +to-day.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>As I ordered the day before, that the execution should take place +yesterday. As I ordered Sunday that the execution should take place +Monday. To-day I ordered the execution to take place to-morrow.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>As a matter of fact, since the second Sunday in Advent, when the +decision was pronounced in the Star Chamber, and the two criminals +came back to the Tower preceded by the executioner with the ax turned +toward them—and that was three weeks ago—every day since then your +Majesty has put the matter off until to-morrow.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Well, can't you understand what that means, sir? Must I explain +everything, and must a woman be forced to show her naked heart to +you, because she is a Queen—unfortunate woman that she is—and +because you represent the Prince of Spain, her future husband? You +don't understand, you men, that with a woman the heart has its +chastity as well as the body. Well, then, yes—since you want to +know, since you make believe that you don't understand anything—yes, +every day I put off Fabiani's execution until to-morrow, because +every morning my courage fails me when I think that the bell of the +Tower of London will ring out his death-knell; because to think they +are sharpening an ax for that man, breaks my heart; because it kills +me to think they will nail a coffin over him; because I am a woman, +because I am weak, because I am insane, because I love him yet, my +God! There! have you got enough? Are you satisfied? Do you understand +now? Oh, some day, my lord, I will have my revenge on you, for all +these things you have made me tell you!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Yet it ought to be about time to get through with this Fabiani! You +expect to marry my royal master, the Prince of Spain, madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>If the Prince of Spain is not satisfied, let him say so; we will +marry somebody else. Suitors are not lacking. The son of the King of +the Romans, the Prince of Piedmont, the Infante of Portugal, Cardinal +Polus, the King of Denmark, and Lord Courtenay are as good noblemen +as he!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Lord Courtenay! Lord Courtenay!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>An English baron is worth a Spanish prince, my lord. Besides, Lord +Courtenay is descended from the emperors of the East. Oh, get mad if +you like!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Fabiani has made himself hated by every one in London who has got a +heart.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Except by me!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Peasants and lords are united against him, and if he is not executed +this very day, as your Majesty has promised—</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Well!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>There will be an uprising among the people.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>I've got my lansquenets.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>There will be a conspiracy among the nobles.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>I have the executioner.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Your Majesty swore upon your mother's prayer-book that you would not +pardon him.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Here is a signature in blank which he has sent to me, in which I +swear on my imperial crown that I will pardon him! My father's crown +is worth as much as my mother's prayer-book. One oath destroys the +other. But who says that I will pardon him?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>He has boldly betrayed you, madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What does that matter? All men are alike about that. I don't want him +to die. Listen, my lord—I mean Sir Bailiff. Good God! you confuse my +mind so much that I can't even tell whom I am talking to. Oh, I know +all that you want to say to me! I know he is a vile, degraded, +contemptible man. I know it as well as you, and I blush for it. But I +love him! What do you want me to do about it? I would probably love a +better man less. Moreover, who are you—all of you—great as you may +be? Are you any better than he? You will tell me that he is a +favorite, and the English nation detests favorites! Don't I know that +you only want to overthrow him to put the Earl of Kildare—that fool, +that Irishman—in his place, that he may have twenty heads a day cut +off? What does that matter to you? Don't talk to me about your Prince +of Spain; you make light enough of him. Don't talk to me about the +anger of M. de Noailles, the French embassador! M. de Noailles is an +idiot, and I will tell him so to his face. As for me, I am a woman; I +want things, and then I don't want them. I am not made all in one +piece. That man's life is necessary to my life. Oh, I beg of you, +don't put on that air of virginal sincerity and good faith. I know +all your intrigues. Between us two, you know as well as I that he +didn't commit the crime for which he is condemned. Well, it is +settled. I don't want Fabiani to die. Am I the mistress, or am I not? +Come, Sir Bailiff, let us talk about something else, will you?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>I withdraw, madame. All your nobles have spoken to you through my +voice.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What do I care for my nobles!</p> + +<p class="speaker">SIMON RENARD (<i>aside</i>).</p> + +<p>Suppose we try the people!</p> + +<p class="staging">[<i>He goes out with respectful salutation.</i></p> + +<p class="speaker">THE QUEEN (<i>alone</i>).</p> + +<p>He went out with a singular expression. That man is capable of +arousing a rebellion. I must hurry off to the City Hall. What ho! +Some one! [<i><span class="sc">Master Eneas</span> and <span class="sc">Joshua</span> appear.</i></p> + + +<h4>SCENE V</h4> + +<p class="scene"><i>The same, without <span class="sc">Simon Renard. Master Eneas, Joshua</span></i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>Is it you, Master Eneas? This man and you, you must attend to it that +the Earl of Clanbrassil makes his escape at once.</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>Madame—</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Very well! I won't trust you; I remember you are one of his enemies. +Are there none but enemies of the man I love, around me? I will wager +that this turnkey, whom I don't even know, he hates him too.</p> + +<p class="speaker">JOSHUA.</p> + +<p>You are right, madame.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>My God! My God! This Simon Renard is more a king than I am a queen! +What! not one person to trust? No one to whom I can give power to +plan his escape?</p> + +<p class="speaker">JANE (<i>coming out from behind the pillar</i>).</p> + +<p>Yes, madame, I!</p> + +<p class="speaker">JOSHUA (<i>aside</i>).</p> + +<p>Jane!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You! Who are you? Ah, it is you, Jane Talbot. What are you doing +here? Never mind, you are here! You have come to save Fabiani; thank +you! I ought to hate you, Jane; I ought to be jealous of you. I have +reason enough to be! But I'm not! I love you for loving him! In front +of the scaffold there is no more jealousy—nothing but love! You are +like me, you forgive him. I understand; men don't understand these +things. Lady Jane, let us have it clearly understood. We are both of +us miserable, are we not? We must save Fabiani! I have no one but +you. I must let you do it! At least, I am sure, you will do it with +all your heart. Take charge of it, gentlemen, both of you. Do +everything that Lady Jane directs you to do, and upon your heads, you +will be answerable for the execution of her orders. Embrace me, young +woman!</p> + +<p class="speaker">JANE.</p> + +<p>The Thames washes the base of the Tower on this side. I noticed a +secret passage. A boat at that place, and the escape might be made by +the Thames. It is the safest way.</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>It will be impossible to get a boat there, before an hour.</p> + +<p class="speaker">JANE.</p> + +<p>That is very long.</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>It will soon pass! It will be dark, too. That will be better if her +Majesty wishes to keep the escape secret.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Perhaps you are right. In one hour then. I leave you, Lady Jane. I +must go to the City Hall. Save Fabiani!</p> + +<p class="speaker">JANE.</p> + +<p>Make yourself easy, madame!</p> + +<p class="staging">[<i><span class="sc">The Queen</span> goes out; <span class="sc">Jane</span> follows her with her eyes.</i></p> + +<p class="speaker">JOSHUA (<i>front of stage</i>).</p> + +<p>Gilbert was right; she loves Fabiani!</p> + + +<h4>SCENE VI</h4> + +<p class="scene"><i>The same, without <span class="sc">The Queen</span></i></p> + +<p class="speaker">JANE (<i>to <span class="sc">Master Eneas</span></i>).</p> + +<p>You have heard the Queen's commands. A boat, there, at the base of +the Tower, the keys of the secret corridors, a cap, and a cloak.</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>Impossible to get all that before night. In one hour, my lady.</p> + +<p class="speaker">JANE.</p> + +<p>Very well! Go! Leave me with this man.</p> + +<p class="staging">[<i><span class="sc">Master Eneas</span> goes out. <span class="sc">Jane</span> follows him with her eyes.</i></p> + +<p class="speaker">JOSHUA (<i>aside, at front stage</i>).</p> + +<p>"This man!" It is very natural. One who has forgotten Gilbert will +not remember Joshua.</p> + +<p class="staging">[<i>He goes to <span class="sc">Fabiani's</span> cell and is about to open it.</i></p> + +<p class="speaker">JANE.</p> + +<p>What are you doing there?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Forestalling your wishes, my lady. I am opening this door.</p> + +<p class="speaker">JANE.</p> + +<p>What door is that?</p> + +<p class="speaker">JOSHUA.</p> + +<p>The door of my Lord Fabiani's cell.</p> + +<p class="speaker">JANE.</p> + +<p>And that one?</p> + +<p class="speaker">JOSHUA.</p> + +<p>It is the door to another man's cell.</p> + +<p class="speaker">JANE.</p> + +<p>Who is he—that other?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Another who is condemned to death; some one whom you do not know—a +workman named Gilbert.</p> + +<p class="speaker">JANE.</p> + +<p>Open that door!</p> + +<p class="speaker">JOSHUA (<i>after having opened it</i>).</p> + +<p>Gilbert!</p> + + +<h4>SCENE VII</h4> + +<p class="scene sc">Jane, Gilbert, Joshua</p> + +<p class="speaker">GILBERT (<i>from the interior of his cell</i>).</p> + +<p>What is wanted?</p> + +<p class="staging">[<i>He appears on the threshold, sees <span class="sc">Jane</span>, leans trembling against +the wall.</i></p> + +<p>Jane! Lady Jane Talbot!</p> + +<p class="speaker">JANE (<i>on her knees, without lifting her eyes to him</i>).</p> + +<p>Gilbert, I have come to save you!</p> + +<p class="speaker">GILBERT.</p> + +<p>Save me!</p> + +<p class="speaker">JANE.</p> + +<p>Listen to me! Pity me! Do not crush me! I know all that you would +say. It is all true; but don't say it to me. I must save you. +Everything is ready. The escape is safe. Let yourself be saved by me, +just as if I were anybody else. I don't ask any more. You need never +recognize me again. You need never know who I am! Don't forgive me! +Just let me save you. Will you?</p> + +<p class="speaker">GILBERT.</p> + +<p>Thank you! It is useless. Why wish to save my life, Lady Jane, if you +do not love me?</p> + +<p class="speaker">JANE (<i>with joy</i>).</p> + +<p>Oh, Gilbert, is that what you ask me, truly? Gilbert, do you deign to +think of what is passing in this poor girl's heart? Gilbert, is it +possible that the love I have for you can interest you, can seem +worth thinking about? Oh, I thought it was quite indifferent to +you—that you despised me too much to wonder what I did with my +heart. Gilbert, if you only knew how these words you have spoken make +me feel! Oh, it is an unhoped-for gleam of sunshine in my dark night. +Oh, listen to me! If I dared to draw near to you, if I dared to touch +your garments, if I dared to take your hand in mine, if I dared once +more to lift mine eyes to you and to Heaven, as I did once—do you +know what I would say to you? On my knees, prostrate, weeping at your +feet, with sobs on my lips and the joy of angels in my heart, I would +say, "Gilbert, I love you!"</p> + +<p class="speaker">GILBERT (<i>taking her to his heart with rapture</i>).</p> + +<p>You love me?</p> + +<p class="speaker">JANE.</p> + +<p>Yes, I love you!</p> + +<p class="speaker">GILBERT.</p> + +<p>You love me! My God! she loves me. It is indeed true! She has said it +herself; her lips have spoken it. God in heaven!</p> + +<p class="speaker">JANE.</p> + +<p>My Gilbert!</p> + +<p class="speaker">GILBERT.</p> + +<p>You say all is prepared for my escape? Quick—let us hurry! Life! I +want to live! Jane loves me! This roof descends on my head and +crushes it. I want air! I suffocate here! Let us fly quickly. Let us +go, Jane! I want to live! I want to live! I am beloved.</p> + +<p class="speaker">JANE.</p> + +<p>Not yet. We must have a boat. We must wait until night. But be easy. +You are saved. In less than an hour we will be outside. The Queen is +at the City Hall and will not come back so soon as that. I am +mistress here. I will explain it all to you.</p> + +<p class="speaker">GILBERT.</p> + +<p>Wait an hour? That is long. Oh, I yearn to get back to life and +happiness. Jane, Jane, you are there; I will live! You love me! I am +come back from hell! Restrain me. I will do something mad. I will +laugh, I will sing. Ah, you do love then?</p> + +<p class="speaker">JANE.</p> + +<p>Yes, I love you! yes, I love you! And listen, Gilbert, believe me; +this is the truth as though I were on my death-bed: I have never +loved any one but you. Even in my fall, even in the midst of my sin, +I loved you. Scarcely had I fallen into the arms of that demon who +ruined me, when I wept for my angel.</p> + +<p class="speaker">GILBERT.</p> + +<p>Forgotten! forgiven! Never speak of it again, Jane! What do I care +for the past? Who could resist your voice, who would do other than I +am doing? Yes, I pardon everything, my well-beloved child. The +foundation of love is mercy and pardon, Jane; jealousy and despair +burned the tears in my eyes, but I pardon you, but I thank you! You +are the only truly bright thing in this world; at each word that you +speak, I feel grief dies, and joy is born in my soul. Jane, lift your +head, stand up straight before me there and look at me! I tell you +that you are my child.</p> + +<p class="speaker">JANE.</p> + +<p>Always generous! Gilbert, my well-beloved.</p> + +<p class="speaker">GILBERT.</p> + +<p>I wish I were outside now: in our flight, far away: free, with you! +Oh, this night, which will never come! The boat is not there. Jane, +we will leave London at once, this night. We will leave England; we +will go to Venice. Men of my trade make a great deal of money there. +You will belong to me! Oh, my God! I am insane! I have forgotten the +name you bear. It is too proud a one, Jane.</p> + +<p class="speaker">JANE.</p> + +<p>What do you mean?</p> + +<p class="speaker">GILBERT.</p> + +<p>Daughter of Lord Talbot.</p> + +<p class="speaker">JANE.</p> + +<p>I know one prouder still.</p> + +<p class="speaker">GILBERT.</p> + +<p>Which?</p> + +<p class="speaker">JANE.</p> + +<p>Wife of the workman Gilbert.</p> + +<p class="speaker">GILBERT.</p> + +<p>Jane!</p> + +<p class="speaker">JANE.</p> + +<p>Oh, no! Don't think I ask so much as that. I know I am unworthy of +that. I do not lift my eyes so high. I would never take such an +advantage of your pardon. The poor engraver Gilbert shall make no +mesalliance with the Countess of Waterford. No, I will follow you, I +will love you, I will never leave you; I will lie all day at your +feet, all night at your door. I will watch you work, I will help +you, I will give you all you need. I will be to you something less +than a sister, something more than a dog. And if you ever marry, +Gilbert—because God will want you to find somebody, some pure woman, +without stain and worthy of you—well, if you marry, and if your wife +is good, if she will let me, I will be your wife's servant. If she +won't have me, I will go off, far off, to die where I can. That is +the only way I shall ever leave you. If you do not marry I will +stay with you, always; I will be gentle and patient—oh, you shall +see!—and if people think ill of me because I am with you—well, they +can think what they please. I have no longer the right to blush, you +see—I am only an unfortunate woman!</p> + +<p class="speaker">GILBERT (<i>falling at her feet</i>).</p> + +<p>You are an angel! You are my wife!</p> + +<p class="speaker">JANE.</p> + +<p>Your wife? Ah, you are like God—your pardon purifies me. Be blessed, +Gilbert, for putting this crown upon my brow.</p> + +<p class="staging">[<i><span class="sc">Gilbert</span> takes her up and folds her to his heart. While they stand +thus in each other's arms, <span class="sc">Joshua</span> takes <span class="sc">Jane's</span> hand.</i></p> + +<p class="speaker">JOSHUA.</p> + +<p>It is Joshua, Lady Jane!</p> + +<p class="speaker">JANE.</p> + +<p>Good Joshua!</p> + +<p class="speaker">JOSHUA.</p> + +<p>You did not know me a little while ago.</p> + +<p class="speaker">JANE.</p> + +<p>No, I had to begin with him.</p> + +<p class="staging">[<i><span class="sc">Joshua</span> kisses her hand.</i></p> + +<p class="speaker">GILBERT (<i>pressing her in his arms</i>).</p> + +<p>Ah, what happiness! But is it real, all this happiness?</p> + +<p class="staging">[<i>For some time a distant noise has been heard; confused voices, a +tumult. It grows dark.</i></p> + +<p class="speaker">JOSHUA.</p> + +<p>What is that noise?</p> + +<p class="staging">[<i>He goes to the window which overlooks the street.</i></p> + +<p class="speaker">JANE.</p> + +<p>Oh! My God! Let nothing happen!</p> + +<p class="speaker">JOSHUA.</p> + +<p>There is a great crowd off there. Pick-axes, pikes, torches. The +Queen's pensioners on horseback, and fighting. They are all coming +this way! What cries! The devil! It looks like a public revolt.</p> + +<p class="speaker">JANE.</p> + +<p>If it is only not against Gilbert.</p> + +<p class="speaker">DISTANT CRIES.</p> + +<p>Fabiani! Death to Fabiani!</p> + +<p class="speaker">JANE.</p> + +<p>Can you hear?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Yes.</p> + +<p class="speaker">JANE.</p> + +<p>What are they saying?</p> + +<p class="speaker">JOSHUA.</p> + +<p>I can't distinguish!</p> + +<p class="speaker">JANE.</p> + +<p>Oh, my God! My God!</p> + +<p class="staging">[<i><span class="sc">Master Eneas</span> and a boatman enter hastily through the concealed +door.</i></p> + + +<h4>SCENE VIII</h4> + +<p class="scene"><i>The same. <span class="sc">Master Eneas</span>, a Boatman</i></p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>My Lord Fabiani! My lord, not an instant to lose! The people know the +Queen wanted to save your life. There is a revolt of the London +populace against you. In a quarter of an hour you will be torn to +pieces. My lord, save yourself. Here is a cloak and a cap. Here are +the keys. Here is a boatman. Don't forget that you owe it all to me. +My lord, make haste! [<i>Low to Boatman.</i>] Remember, you are not to +hurry.</p> + +<p class="speaker">JANE (<i>hastily covers <span class="sc">Gilbert</span> with the cloak and cap; low to +<span class="sc">Joshua</span></i>).</p> + +<p>Heaven! If this man will only not recognize him.</p> + +<p class="speaker">MASTER ENEAS (<i>looking into <span class="sc">Gilbert's</span> face</i>).</p> + +<p>What! this is not Lord Clanbrassil. You are not fulfilling the +Queen's orders, my lady. You are helping another to escape.</p> + +<p class="speaker">JANE.</p> + +<p>All is lost! I ought to have foreseen this! Ah, sir, it is true! Have +mercy—</p> + +<p class="speaker">MASTER ENEAS (<i>low to <span class="sc">Jane</span></i>).</p> + +<p>Silence! Go on! I have said nothing! I have seen nothing!</p> + +<p class="staging">[<i>He goes up stage with an air of indifference.</i></p> + +<p class="speaker">JANE.</p> + +<p>What does he say? Ah, Providence befriends us. Everybody wants to +save Gilbert.</p> + +<p class="speaker">JOSHUA.</p> + +<p>No, my lady, everybody wants to destroy Fabiani.</p> + +<p class="staging">[<i>During the entire scene the cries have increased outside.</i></p> + +<p class="speaker">JANE.</p> + +<p>We must hurry, Gilbert. Come quickly.</p> + +<p class="speaker">JOSHUA.</p> + +<p>Let him go alone!</p> + +<p class="speaker">JANE.</p> + +<p>Leave him!</p> + +<p class="speaker">JOSHUA.</p> + +<p>Only for a moment. No woman in the boat, if you want it to arrive +safe. It is too light yet; your dress is white. After the peril is +over, you will find each other again. Come this way with me. Let him +go that way.</p> + +<p class="speaker">JANE.</p> + +<p>Joshua is right. Where will I find you, my Gilbert?</p> + +<p class="speaker">GILBERT.</p> + +<p>Under the first arch of London Bridge.</p> + +<p class="speaker">JANE.</p> + +<p>Good! Go quickly. The tumult increases. Oh, I wish you were safe +away!</p> + +<p class="speaker">JOSHUA.</p> + +<p>Here are the keys. There are twelve doors to open and shut between +here and the water's edge. It will take you a good quarter of an +hour.</p> + +<p class="speaker">JANE.</p> + +<p>A quarter of an hour! Twelve doors! That is frightful.</p> + +<p class="speaker">GILBERT (<i>embracing her</i>).</p> + +<p>Good-by, Jane! A few more moments of separation and we will rejoin +each other for a life-time!</p> + +<p class="speaker">JANE.</p> + +<p>For eternity. [<i>To the Boatman.</i>] Sir, I place him in your care!</p> + +<p class="speaker">MASTER ENEAS (<i>low to Boatman</i>).</p> + +<p>For fear of accident, don't hurry.</p> + +<p class="staging">[<i><span class="sc">Gilbert</span> goes out with the Boatman.</i></p> + +<p class="speaker">JOSHUA.</p> + +<p>He is saved! Now for us! We must shut this cell.</p> + +<p class="staging">[<i>He shuts the door of <span class="sc">Gilbert's</span> cell.</i></p> + +<p>All right! Come quickly; this way!</p> + +<p class="staging">[<i>He goes out, with <span class="sc">Jane</span>, through the other concealed door.</i></p> + +<p class="speaker">MASTER ENEAS (<i>alone</i>).</p> + +<p>Fabiani remains in the trap. Now, there is a shrewd little woman whom +Simon Renard would have paid a good deal for. How will the Queen take +all this? Provided the consequences do not fall on my shoulders!</p> + +<p class="staging">[<i><span class="sc">The Queen</span> and <span class="sc">Simon Renard</span> enter with rapid steps. The tumult +outside has steadily increased. It is night. Cries of death, torches, +lights, sounds of moving masses; the click of arms, shots, the +stamping of horses. Several noblemen with daggers in their hands +accompany <span class="sc">The Queen</span>. Among them are the herald of England, +Clarence, bearing the royal banner, and the herald of the Order of +the Garter, Jarretiere, bearing the banner of that order.</i></p> + + +<h4>SCENE IX</h4> + +<p class="scene"><i><span class="sc">The Queen, Simon Renard, Master Eneas, Lord Clinton</span>, the two +heralds, lords, pages, etc.</i></p> + +<p><span class="sc">The Queen</span> (<i>low to <span class="sc">Master Eneas</span></i>).</p> + +<p>Has Fabiani escaped?</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>Not yet!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Not yet! [<i>Giving him a terrible look.</i></p> + +<p class="speaker">MASTER ENEAS (<i>aside</i>).</p> + +<p>The devil!</p> + +<p class="speaker">THE PEOPLE (<i>outside</i>).</p> + +<p>Death to Fabiani!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>You must make your decision on the spot, madame. The people demand +this man's death! The Tower is besieged. The revolt is formidable. +Your nobles have been cut to pieces on London Bridge. Your Majesty's +pensioners hold their own yet; but, just the same, your Majesty has +been chased street by street, from the City Hall to the Tower of +London. Madame Elizabeth's followers have joined the people. You can +tell that by the venom of the mob. All this is serious. What does +your Majesty command?</p> + +<p class="speaker">THE PEOPLE.</p> + +<p>Fabiani! Death to Fabiani!</p> + +<p class="staging">[<i>They grow louder, and come nearer.</i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>Death to Fabiani! Do you hear that howling populace, my lords? You +must throw a man out to them. The rabble is hungry!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>What does your Majesty command?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>By heaven, my lords! it seems to me you all stand trembling around +me! Upon my soul! must a woman show you your duty as noblemen? To +horse, my lords, to horse! Are you afraid of the rabble? Are swords +afraid of clubs?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Don't let things go any further. Yield, madame, while there is yet +time. You can yet say "the rabble"; in an hour you will have to say +"the people"!</p> + +<p class="staging">[<i>The cries increase, the noise comes nearer.</i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>In an hour!</p> + +<p class="speaker">SIMON RENARD (<i>going to gallery and returning</i>).</p> + +<p>In a quarter of an hour, madame. The first wall of the Tower is +broken down. One more step, the mob will be here.</p> + +<p class="speaker">THE PEOPLE.</p> + +<p>To the Tower! to the Tower! Fabiani! death to Fabiani!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>How right they are who call the people terrible! Fabiano!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Do you want to see him torn to pieces before your eyes?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Do you know this is infamous, that not one of you stirs? In the name +of Heaven, defend me, my lords!</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>You? yes, madame. Fabiano? no!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Very well, I will tell you all then, so much the worse for you. +Fabiano is innocent. Fabiano never committed the crime for which he +was condemned. It was I, and this man here, and the engraver Gilbert. +We did it all; we invented it all; we imagined it all. It was all a +farce! Contradict me if you dare, Sir Bailiff! Now, gentlemen, will +you defend him? He is innocent; I swear it. On my head, on my crown, +on my God, on my mother's soul, he is innocent of the crime. It is as +true as that you stand there, Lord Clinton! Defend him! Annihilate +these wretches as you annihilated Tom Wyatt, my brave Clinton, my old +friend, my good Robert! I swear to you that it is false that Fabiano +tried to assassinate the Queen.</p> + +<p class="speaker">LORD CLINTON.</p> + +<p>There is another Queen whom he tried to assassinate—England!</p> + +<p class="staging">[<i>The cries continue outside.</i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>The balcony! Open the balcony. I myself will prove to the people that +he is not guilty.</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Prove to the people that he is not Italian.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>When I think it is Simon Renard, one of Cardinal Granvelle's +creatures, who dares to speak to me like this! Well, open that door! +open that cell! Fabiano is there. I want to see him; I want to speak +to him.</p> + +<p class="speaker">SIMON RENARD (<i>low</i>).</p> + +<p>What are you doing? For his own sake, you needn't let everybody know +where he is.</p> + +<p class="speaker">THE PEOPLE.</p> + +<p>Death to Fabiani! Long live Elizabeth!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>They cry long live Elizabeth, now!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>My God! My God!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Choose, madame [<i>with one hand he points to the cell</i>], this head to +the people [<i>with the other hand he designates the crown which <span class="sc">the +Queen</span> wears</i>] or that crown to Madame Elizabeth.</p> + +<p class="speaker">THE PEOPLE.</p> + +<p>Death! Death! Fabiani! Elizabeth!</p> + +<p class="staging">[<i>A stone breaks through a pane of glass near <span class="sc">The Queen</span>.</i></p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Your Majesty is destroying herself without saving him! The second +court is reached. What does the Queen command?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You are all cowards, and Clinton is the worst of all. Ah, Clinton, I +will remember this, my friend!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>What does the Queen command?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Oh, to be abandoned by all of you! to have confessed all without +obtaining anything! What sort of creatures are these noblemen here? +That populace is infamous! I would like to crush them under my feet. +There are times then, when a queen is nothing but a woman? You will +pay dear for this, gentlemen!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>What does the Queen command?</p> + +<p class="speaker">THE QUEEN (<i>crushed</i>).</p> + +<p>Whatever you will. Do what you like. You are an assassin. [<i>Aside.</i>] +Oh, Fabiano!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Clarence! Jarretiere! Come here! Master Eneas, open the great balcony +of the gallery.</p> + +<p class="staging">[<i>The balcony in the back opens. <span class="sc">Simon Renard</span> steps out upon it, +<span class="sc">Clarence</span> at his right, <span class="sc">Jarretiere</span> at his left. Immense tumult outside.</i></p> + +<p class="speaker">THE PEOPLE.</p> + +<p>Fabiani! Fabiani!</p> + +<p class="speaker">SIMON RENARD (<i>on the balcony, turned toward the people</i>).</p> + +<p>In the Queen's name!</p> + +<p class="speaker">HERALDS.</p> + +<p>In the Queen's name!</p> + +<p class="staging">[<i>Profound silence outside.</i></p> + +<p class="speaker">SIMON RENARD.</p> + +<p>People, the Queen bids you know this: To-day, this very night, one +hour after the curfew, Fabiano Fabiani, Earl of Clanbrassil, covered +with a black veil from head to foot, bound with an iron gag, a yellow +wax candle weighing three pounds in his hand, will be led, by +torchlight, from the Tower of London, through Charing Cross, to the +old Market-Place of the city, there to be publicly punished and +beheaded, for the crimes of high treason and attempt of regicide on +the imperial person of the Queen!</p> + +<p class="staging">[<i>Immense applause outside.</i></p> + +<p class="speaker">THE PEOPLE.</p> + +<p>Long live the Queen! Death to Fabiani!</p> + +<p class="speaker">SIMON RENARD (<i>continuing</i>).</p> + +<p>And, in order that no one in this city of London shall ignore it, +this is what the Queen orders during the entire journey, which the +criminal must make from the Tower of London to the old Market-Place: +The great bell of the Tower shall toll; at the moment of the +execution, three cannon-shots will be fired—the first, when he +mounts the scaffold; the second, when he kneels upon the black cloth; +the third, when his head falls. [<i>Applause.</i>]</p> + +<p class="speaker">THE PEOPLE.</p> + +<p>Illuminate! Illuminate!</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>This night the Tower and the city of London will be illuminated with +lights and torches, in sign of joy. I have spoken. [<i>Applause.</i>] God +protect the old charter of England!</p> + +<p class="speaker">THE TWO HERALDS.</p> + +<p>God protect the old charter of England.</p> + +<p class="speaker">THE PEOPLE.</p> + +<p>Death to Fabiani! Long live Mary! Long live the Queen!</p> + +<p class="staging">[<i>The balcony is closed. <span class="sc">Simon Renard</span> approaches <span class="sc">The Queen</span>.</i></p> + +<p class="speaker">SIMON RENARD.</p> + +<p>What I have just done will never be forgiven me by the Princess +Elizabeth!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Nor by Queen Mary. Leave me, sir.</p> + +<p class="staging">[<i>She dismisses them all with a gesture.</i></p> + +<p class="speaker">SIMON RENARD (<i>low to <span class="sc">Master Eneas</span></i>).</p> + +<p>Master Eneas, look to the execution!</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>Count upon me!</p> + +<p class="staging">[<i><span class="sc">Simon Renard</span> goes out. As <span class="sc">Master Eneas</span> is about to go, <span class="sc">The +Queen</span> rushes to him, seizes him by the arm and drags him violently +to the front of the stage.</i></p> + + +<h4>SCENE X</h4> + +<p class="scene">The Queen, Master Eneas</p> + +<p class="speaker">THE PEOPLE (<i>outside</i>).</p> + +<p>Death to Fabiani! Fabiani! Fabiani!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Whose head is worth most at this moment, do you think—Fabiani's or +yours?</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>Madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You are a traitor!</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>Madame! [<i>Aside.</i>] The devil!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>No explanations! I swear by my mother, if Fabiano dies, you die!</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>But, madame—</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Save Fabiano, and you save yourself—not otherwise!</p> + +<p class="speaker">THE PEOPLE.</p> + +<p>Death to Fabiani! Fabiani!</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>Save the Earl of Clanbrassil? But the people are out there! It is +impossible! By what means?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Find some!</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>What could I do?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Do what you would for yourself.</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>The people will keep armed until after the execution. To satisfy +them, somebody must be beheaded!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Anybody you please.</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>Anybody I please? Wait, madame! The execution will be at night, by +torchlight; the criminal covered with a black veil, gagged; the +people kept a long way from the scaffold by the pike-men, the same as +always. It is enough, if the people see a head fall. The thing is +possible. If only the boatman is there yet! I told him not to hurry.</p> + +<p class="staging">[<i>He goes to the window which overlooks the Thames.</i></p> + +<p>There he is, but we're just in time!</p> + +<p class="staging">[<i>He leans out of the window, a torch in his hand, waving his +handkerchief, then he turns to <span class="sc">The Queen</span>.</i></p> + +<p>All right! I will answer for Lord Fabiani, madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>On your head?</p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>On my head!</p> + + + +<h3>THIRD DAY</h3> + +<p class="center">PART II</p> + + +<p><span class="sc">Scene.</span>—<i>A hall or room into which lead two staircases, one +ascending and the other descending. The entrance to each of these +staircases fills a portion of the back of the stage. The one which +ascends ends at the frieze; the one which descends ends +underneath—neither the beginning nor the end is visible</i></p> + +<p><i>The room is draped with black in a peculiar fashion. The wall on the +right, the wall on the left, and the ceiling are covered with a black +cloth on which is a large white cross; the background, which faces +the spectator, with a white cloth and large black cross. These black +and white draperies continue until they are lost to sight under the +staircases. To the right and to the left, there is an altar draped +with black and white, decorated as if for a funeral. Tall candles. No +priests. A few funeral lamps, hanging here and there from the vaulted +roof, light the room and the staircases feebly. What really lights +the room is the great white cloth in the background, through which +a reddish light shines as if there were a fiery furnace behind. The +room is paved with tombstones. As the curtain rises, the motionless +figure of <span class="sc">The Queen</span> is seen in black outline on this transparent cloth</i></p> + + +<h4>SCENE I</h4> + +<p class="scene"><i><span class="sc">Jane, Joshua.</span> They enter cautiously through a little door behind +the black draperies, which they push aside</i></p> + +<p class="speaker">JANE.</p> + +<p>Where are we, Joshua?</p> + +<p class="speaker">JOSHUA.</p> + +<p>On the great landing of the staircase down which the criminals go to +execution. It was draped in this way under Henry VIII.</p> + +<p class="speaker">JANE.</p> + +<p>No way of getting out of the Tower?</p> + +<p class="speaker">JOSHUA.</p> + +<p>The people are on guard at every exit. They want to be sure of +getting their criminal this time. No one can go out before the +execution.</p> + +<p class="speaker">JANE.</p> + +<p>The proclamation they made from the balcony rings in my ears yet. +This is a horrible thing, Joshua.</p> + +<p class="speaker">JOSHUA.</p> + +<p>Oh, I've seen many such!</p> + +<p class="speaker">JANE.</p> + +<p>If only Gilbert has been able to escape. Do you think he is safe, +Joshua?</p> + +<p class="speaker">JOSHUA.</p> + +<p>I am sure of it.</p> + +<p class="speaker">JANE.</p> + +<p>You are sure of it, good Joshua?</p> + +<p class="speaker">JOSHUA.</p> + +<p>The Tower wasn't surrounded on the waterside. Then, when he started, +the riot wasn't as bad as it was afterward. It was a fine riot, if +you but knew it.</p> + +<p class="speaker">JANE.</p> + +<p>You are sure that he is safe?</p> + +<p class="speaker">JOSHUA.</p> + +<p>And waiting for you under the first arch of London Bridge, where you +will meet him before midnight.</p> + +<p class="speaker">JANE.</p> + +<p>Heaven! He will be anxious too.</p> + +<p class="staging">[<i>Seeing the shadow of <span class="sc">The Queen</span>.</i></p> + +<p>My God! what is that, Joshua?</p> + +<p class="speaker">JOSHUA (<i>low, taking her hand</i>).</p> + +<p>Silence! It is the lioness, on the watch.</p> + +<p class="staging">[<i>While <span class="sc">Jane</span> looks at this figure in horror, a distant voice, which +seems to come from above, pronounces these words slowly and +distinctly.</i></p> + +<p class="speaker">VOICE.</p> + +<p>The man, covered with a black veil, who follows me, is the very high +and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of +Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded +at the London Market-Place, for the crimes of regicide and high +treason. God have mercy on his soul!</p> + +<p class="speaker">ANOTHER VOICE.</p> + +<p>Pray for him!</p> + +<p class="speaker">JANE (<i>trembling</i>).</p> + +<p>Joshua, do you hear?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Yes, I hear such things every day.</p> + +<p class="staging">[<i>A funeral procession appears at the head of the staircase, and +gradually forms itself on the steps as it descends. A man dressed in +black is at the head, bearing a white banner with black cross. Next +comes <span class="sc">Master Eneas Dulverton</span>, wearing a great black cloak, holding +his Constable's baton in his hand. Then a group of halberdiers, +dressed in red; then a man in white, bearing black banner with white +cross. To the right and to the left, halberdiers bearing torches.</i></p> + +<p class="speaker">JANE.</p> + +<p>Do you see?</p> + +<p class="speaker">JOSHUA.</p> + +<p>Yes, I see such things every day.</p> + +<p class="staging">[<i>As they are about to reach the stage the procession stops.</i></p> + +<p class="speaker">MASTER ENEAS.</p> + +<p>The man, covered with a black veil, who follows me, is the very high +and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of +Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded +at the London Market-Place, for the crimes of regicide and high +treason. God have mercy on his soul!</p> + +<p class="speaker">THE TWO STANDARD-BEARERS.</p> + +<p>Pray for him!</p> + +<p class="staging">[<i>The procession slowly crosses the back of the stage.</i></p> + +<p class="speaker">JANE.</p> + +<p>This is a terrible thing we are looking at, Joshua. It freezes my +blood.</p> + +<p class="speaker">JOSHUA.</p> + +<p>That abominable Fabiani!</p> + +<p class="speaker">JANE.</p> + +<p>Peace, Joshua! Very abominable, but very unfortunate.</p> + +<p class="staging">[<i>The procession reaches the other staircase: <span class="sc">Simon Renard</span>, who +appeared at the entrance of this staircase, some moments before, and +has observed everything, moves aside to let them pass. The procession +goes under the arch of the staircase, and gradually disappears. +<span class="sc">Jane</span>, terrified, follows it with her eyes.</i></p> + +<p class="speaker">SIMON RENARD (<i>after the procession has disappeared</i>).</p> + +<p>What does this mean? Is that really Fabiani? I thought him not so +tall. Has Master Eneas?—It seems to me the Queen kept him near her +for a moment. Let us see!</p> + +<p class="staging">[<i>He disappears under the staircase, following the procession.</i></p> + +<p class="speaker">VOICE (<i>which grows fainter and fainter</i>).</p> + +<p>The man, covered with a black veil, who follows me, is the very high +and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of +Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded +at the London Market-Place, for the crimes of regicide and high +treason.</p> + +<p class="speaker">OTHER VOICES (<i>almost indistinct</i>).</p> + +<p>Pray for him!</p> + +<p class="speaker">JOSHUA.</p> + +<p>The great bell will announce his exit from the Tower, presently. +Perhaps you can make your escape now: I must try to find a way. Wait +for me here: I will come back.</p> + +<p class="speaker">JANE.</p> + +<p>Are you going to leave me, Joshua? I will be afraid here, all alone.</p> + +<p class="speaker">JOSHUA.</p> + +<p>It will be dangerous for you to wander over the Tower with me. I must +get you away from here. Remember Gilbert is waiting for you.</p> + +<p class="speaker">JANE.</p> + +<p>Gilbert? Everything for Gilbert. Go!</p> + +<p class="staging">[<i><span class="sc">Joshua</span> goes out.</i></p> + +<p>Oh, what a terrible sight!—when I think that it might have been like +this for Gilbert.</p> + +<p class="staging">[<i>She kneels on one of the altar steps.</i></p> + +<p>Oh, thank you! You are indeed God the Saviour. You have saved +Gilbert.</p> + +<p class="staging">[<i>The cloth at the back opens. <span class="sc">The Queen</span> appears: she comes slowly +to the front of the stage, without seeing <span class="sc">Jane</span>, who turns around.</i></p> + +<p>The Queen! My God!</p> + + +<h4>SCENE II</h4> + +<p class="scene"><i><span class="sc">Jane, The Queen. Jane</span> clings to the altar, with horror, and fixes +a look of stupor and terror on <span class="sc">The Queen's</span> face</i></p> + +<p class="speaker">THE QUEEN (<i>she stands a few seconds at the front of the stage, her +glance fixed, pale, as if absorbed in gloomy thoughts. At last she +sighs profoundly</i>).</p> + +<p>Oh, the people!</p> + +<p class="staging">[<i>She looks around with anxiety and sees <span class="sc">Jane</span>.</i></p> + +<p>Some one is here. Oh, it is you, young woman! It is you, Lady Jane. I +frighten you. Don't be afraid. You know the turnkey Eneas betrayed +us. Don't be afraid. I have already told you, child, you have nothing +to fear from me. What was your ruin a month ago is your salvation +to-day. You love Fabiano. There are only you and I in the whole world +to-day who have a heart like that. Only you and I love him. We are +sisters.</p> + +<p class="speaker">JANE.</p> + +<p>Madame—</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Yes, you and I—two women, we are all he has! Every one else is +against him; a whole city, a whole nation, a whole world. Unequal +struggle of love against hate. Love for Fabiano is a sad thing, a +fatal, a horror-stricken thing: it has a pallid brow like yours, +tear-filled eyes like mine; it hides itself close to a funereal +altar; it entreats with your lips, it curses with mine. But hate for +Fabiano is a proud thing, radiant, triumphant: it is well-armed and +victorious; it has the Court, the people, the crowded streets; it +munches cries of death and cries of joy at the same time; it is +magnificent, haughty, powerful; it illuminates a whole city +surrounding a scaffold. Love, here it is—two women weeping in a +tomb! Hate, there it is!</p> + +<p class="staging">[<i>She pulls the white cloth violently aside, which reveals a balcony, +and beyond the balcony, almost out of sight, the whole city of +London, brilliantly illuminated. What is visible of the Tower of +London is also illuminated. <span class="sc">Jane</span> fixes her amazed eyes on this +startling scene, the reflection of which lights up the theater.</i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>Oh, infamous city; rebellious city; accursed city; monstrous +city—who soaks her holiday dress in blood, and who holds the torch +for the executioner! You are afraid of it, aren't you, Jane? Doesn't +it seem to you, as it does to me, that it cowardly defies us both; +that it is watching us with its hundred thousand flaming eyes—us, +feeble, forsaken women that we are, alone and lost in this sepulcher? +Jane, do you hear it howl and laugh—that horrible city? Oh, England, +all England to him who will destroy London! Would that I could change +those torches into fiery brands, those lights into flames, and that +illuminated city into a city of <i>fire</i>!</p> + +<p class="staging">[<i>A tremendous outburst from the people outside—applause, confused +cries, "There he is! There he is! Death to <span class="sc">Fabiani</span>—" The great +bell of the Tower begins to toll. At this sound, <span class="sc">The Queen</span> breaks +into a terrible peal of laughter.</i></p> + +<p class="speaker">JANE.</p> + +<p>God! The unfortunate man is leaving the Tower!—You laugh, madame!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Yes, I laugh! [<i>She laughs.</i>] Yes, and you will laugh, too. Let me +drop those hangings first. It seems to me all the time as if we were +not alone, as if that frightful city could see and hear us.</p> + +<p class="staging">[<i>She drops the white curtain and comes back to <span class="sc">Jane</span>.</i></p> + +<p>Now that he is gone, now that there is no more danger, I can tell you +about it. Laugh, laugh, let us both laugh at those execrable people +who drink blood! Oh, it is grand, Jane! Jane, you tremble for +Fabiano? Be at ease, laugh with me, I tell you. Jane, the man they've +got, the man who is going to die, the man they think is Fabiano—is +not Fabiano.</p> + +<p class="staging">[<i>She laughs.</i>]</p> + +<p class="speaker">JANE.</p> + +<p>Not Fabiano?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>No!</p> + +<p class="speaker">JANE.</p> + +<p>Then who is it?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>The other!</p> + +<p class="speaker">JANE.</p> + +<p>What other?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>You know well enough! You know him—that workman—that man. Besides, +what does it matter?</p> + +<p class="speaker">JANE (<i>trembling with terror</i>).</p> + +<p>Gilbert?</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Yes, Gilbert! That is the name.</p> + +<p class="speaker">JANE.</p> + +<p>Madame! Oh, no, madame! Don't say that, madame! Gilbert—it would be +too horrible! He has escaped!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>He was escaping when they seized him. They put him under the black +veil in Fabiano's place. It is night. The people won't know. Rest +easy.</p> + +<p class="speaker">JANE (<i>with a frightful cry</i>).</p> + +<p>Ah, madame! But the man I love—it is Gilbert!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What? What do you say? Are you going crazy? Did you deceive me, too? +Ah, it is Gilbert whom you love! Well, what does that matter to me?</p> + +<p class="speaker">JANE (<i>at <span class="sc">The Queen's</span> feet, broken-hearted, sobbing, dragging +herself on her knees, her hands clasped: the great bell tolls through +all this scene</i>).</p> + +<p>Madame—just for pity! Madame, in the name of Heaven! Madame, by your +crown, by your mother, by the angels! Gilbert, Gilbert—it will make +me mad! Madame, save Gilbert! That man, he is my life; that man, he +is my husband; that man— I have told you that he did everything for +me, that he brought me up, that he adopted me, that beside my cradle +he took the place of my father, who died for your father. Madame, you +see that I am a poor, wretched creature, and it isn't right to be too +hard on me. What you said to me just now struck such a terrible blow +that I don't truly see how it is I have strength to speak to you. I +am just saying what I can, you see. But you must stop the +execution—right away! Stop the execution! Put it off until +to-morrow. Just time to have things understood, that is all. The +people can wait until to-morrow, I know. We will see what we can do. +No! don't shake your head! There is no danger for your Fabiano. You +can put me in his place—under the black veil—at night. Who will +know? But you must save Gilbert. What difference does it make whether +it be he or I? And since—since I want to die! Oh, my God, that bell, +that frightful bell! Every knell of that bell is a step toward the +scaffold. Every knell of that bell strikes me full in the heart. Do +it, madame. Be merciful! No danger for your Fabiano! Let me kiss your +hands. I love you, madame. I never said it before—but I love you +dearly. You are a great queen. See, how I kiss your beautiful hands! +Give an order to stop the execution. There is time yet. I am sure we +can do it. They go so slowly. It is a long way from the Tower to the +old Market-Place. The man on the balcony said they would pass through +Charing Cross. There is a quicker way. A man on horseback could get +there. In Heaven's name, madame, be merciful! Try to put yourself in +my place. Imagine that I am Queen and you the poor young woman; and +you would weep as I do, and I would pardon. Pardon! Pardon! Oh, that +is what I was afraid of, that my tears would hinder me from speaking! +Oh, right away!—stop the execution! There won't be any trouble, +madame; no danger for Fabiano, I swear it to you. Don't you really +think you ought to do what I say, madame?</p> + +<p class="speaker">THE QUEEN (<i>touched and lifting her up</i>).</p> + +<p>I wish I could, poor girl. Ah, yes, you are weeping as I wept; what +you feel I have just felt myself, and my anguish makes me understand +yours. Look! I am weeping too. It is very sad, my poor child. It +seems to me, too, they might have taken somebody else—Tyrconnel, for +instance. But he is too well known: they had to have some obscure +man. He was the only one they could get hold of. I explain all this +so that you can understand, don't you see? My God, there are +fatalities like that: we get caught. We can't do anything.</p> + +<p class="speaker">JANE.</p> + +<p>I am listening to you, madame. I am like you. I have got many things +to say. But I would like to have the order to suspend the execution +signed, and the man sent off. You see it would be finished then. We +could talk better afterward. Oh, that bell! forever, that bell!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What you want is impossible, Lady Jane.</p> + +<p class="speaker">JANE.</p> + +<p>Oh, no, it is possible!—a man on horseback. There is a very short +way—by the wharf. I can go—I— It is quite possible! It is easy! You +see I talk very quietly.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>But the people won't have it. They will come back here and massacre +everybody in the Tower. And Fabiano is here yet. Can't you +understand? You are trembling, poor child. I am like you—I tremble +also. In your turn, put yourself in my place. I might easily not take +the trouble to explain all this to you. You see I do what I can. +Don't think about this Gilbert any more. Jane, it is over— Resign +yourself.</p> + +<p class="speaker">JANE.</p> + +<p>Over! No, it is not over! No—as long as that horrible bell tolls, it +is not over! Resign myself to Gilbert's death? Do you think I am +going to let Gilbert die like that? No, madame! Ah, I am wasting my +time! Ah, you won't listen to me! Very well, if the Queen won't hear +me, the people will. They are good, the people—if you but knew it! +They are in the court yet. You can do what you like with me +afterward. I am going to tell them they are cheated; and that it is +not Fabiani, it's a poor workman, named Gilbert—a workman like +themselves!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Stop, you wretched child!</p> + +<p class="staging">[<i>She seizes her arm and looks at her fixedly and resentfully.</i></p> + +<p>This is the way you thank me, is it? I am patient and gentle with +you, I weep with you—and all at once, you get wild and furious! +Well, my love is just as great as yours, and my hand is more +powerful! You shall not stir! Your lover!—what do I care for your +lover? Are all the girls in England coming to ask me about their +lovers, now? By my soul, I save my own as well as I can, and at the +cost of everything which stands in his way. You must look after +yours.</p> + +<p class="speaker">JANE.</p> + +<p>Let me go! Oh, I curse you, you wretched, wicked woman!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Hush!</p> + +<p class="speaker">JANE.</p> + +<p>I will not hush! Do you want me to tell you what I'm thinking of now? +I don't believe the man who is going to die out there is my Gilbert.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What are you saying?</p> + +<p class="speaker">JANE.</p> + +<p>I don't know, but I saw him pass by under that black veil; and if it +had been my Gilbert, something would have stirred in me, something +would have roused itself in my heart, and would have cried out to me, +"Gilbert—it is Gilbert." But I felt nothing at all; it is not +Gilbert.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>What are you saying? Ah, my God! you are crazy. What you have said is +idiotic, but it terrifies me just the same. Ah, you have roused one +of the secret terrors of my own heart! Why did that riot prevent me +from looking after him myself? Why did I intrust to any one but +myself the safety of my Fabiano? Eneas Dulverton is a traitor. +Perhaps Simon Renard was there. What if I have been betrayed a second +time by Fabiano's enemies? What if it is Fabiano himself? What, ho! +quick—some one—come—some one!</p> + +<p class="staging">[<i>Two Jailers appear.</i></p> + +<p class="staging">[<i>To the first.</i>] You—run! Here is my royal signet. Tell them to +suspend the execution. To the old Market-Place; to the old +Market-Place! There is a shorter way, you said, Jane.</p> + +<p class="speaker">JANE.</p> + +<p>By the wharf.</p> + +<p class="speaker">THE QUEEN (<i>to Jailer</i>).</p> + +<p>By the wharf. A horse—go quick!</p> + +<p class="staging">[<i>The Jailer goes out.</i></p> + +<p class="staging">[<i>To the second Jailer.</i>] You—go at once to Edward the Confessor's +Tower. The two cells of the condemned criminals are there. There is a +man in one of them. Bring him here at once.</p> + +<p class="staging">[<i>The Jailer goes out.</i></p> + +<p>I tremble; my knees sink under me; I have not strength enough to go +myself. Ah, you have made me as mad as yourself! Miserable girl, you +have made me as wretched as yourself. I curse you as you cursed me. +My God, will the man get there in time? What a torturing anxiety! I +can't see anything more. All is trouble in my soul. Does the bell +toll yet? Is it for Gilbert? Is it for Fabiano?</p> + +<p class="speaker">JANE.</p> + +<p>The bell ceases.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Then the procession is on the place for the execution. Will the man +get there in time?</p> + +<p class="staging">[<i>A cannon-shot is heard.</i></p> + +<p class="speaker">JANE.</p> + +<p>Heaven!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>He is ascending the scaffold! [<i>Second cannon.</i> He is kneeling!</p> + +<p class="speaker">JANE.</p> + +<p>It is horrible! [<i>Third cannon.</i></p> + +<p class="speaker">BOTH.</p> + +<p>Ah!</p> + +<p class="speaker">THE QUEEN.</p> + +<p>There is only one alive now. In a moment we will know which one. My +God, let the man who comes in be Fabiano!</p> + +<p class="speaker">JANE.</p> + +<p>My God, let it be Gilbert!</p> + +<p class="staging">[<i>The curtain at the back opens. <span class="sc">Simon Renard</span> appears, holding +<span class="sc">Gilbert</span> by the hand.</i></p> + +<p>Gilbert! [<i>They rush into each other's arms.</i></p> + +<p class="speaker">THE QUEEN.</p> + +<p>And Fabiano?</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>Dead.</p> + +<p class="speaker">THE QUEEN.</p> + +<p>Dead! Dead! Who has dared—</p> + +<p class="speaker">SIMON RENARD.</p> + +<p>I have dared. I have saved the Queen of England.</p> + + + + +<h2 id="play02">MARION DE LORME</h2> + + + + +<p>DRAMATIS PERSONÆ</p> +<table summary="Dramatis personæ"> +<tr><td class="sc">Marion de Lorme.</td><td></td><td></td></tr> +<tr><td class="sc">Didier.</td><td></td><td></td></tr> +<tr><td class="sc">Louis XIII.</td><td></td><td></td></tr> +<tr><td class="sc">Marquis de Saverny.</td><td></td><td></td></tr> +<tr><td class="sc">Marquis de Nangis.</td><td></td><td></td></tr> +<tr><td class="sc">L'Angely.</td><td></td><td></td></tr> +<tr><td class="sc">M. de Laffemas.</td><td></td><td></td></tr> +<tr><td class="sc">Duke de Bellegarde.</td><td></td><td></td></tr> +<tr><td class="sc">Marquis de Brichanteau,</td><td> } +</td><td rowspan="6" class="grouping">Officers of the Regiment of Anjou.</td></tr> +<tr><td class="sc">Count de Gassé,</td><td> }</td></tr> +<tr><td class="sc">Viscount de Bouchavannes,</td><td>}</td></tr> +<tr><td class="sc">Chevalier de Rochebaron,</td><td>}</td></tr> +<tr><td class="sc">Count de Villac,</td><td>}</td></tr> +<tr><td class="sc">Chevalier de Montpesat,</td><td> }</td></tr> +<tr><td class="sc">Duke de Beaupréau.</td><td></td><td></td></tr> +<tr><td class="sc">Viscount de Rohan.</td><td></td><td></td></tr> +<tr><td class="sc">Abbé de Gondi.</td><td></td><td></td></tr> +<tr><td class="sc">Count de Charnacé.</td><td></td><td></td></tr> +<tr><td class="sc">Scaramouche,</td><td>} +</td><td rowspan="3" class="grouping">Provincial comedians.</td></tr> +<tr><td class="sc">Gracieux,</td><td> } </td></tr> +<tr><td class="sc">Taillebras,</td><td> }</td></tr> +<tr><td colspan="3" class="sc">Councilor of the Great Chamber.</td></tr> +<tr><td class="sc">Town Crier.</td><td></td><td class="sc">Captain.</td></tr> +<tr><td class="sc">A Jailer.</td><td></td><td class="sc">A Registrar.</td></tr> +<tr><td class="sc">The Executioner.</td><td></td><td class="sc">First Workman.</td></tr> +<tr><td class="sc">Second Workman.</td><td></td><td class="sc">Third Workman.</td></tr> +<tr><td class="sc">A Lackey.</td><td></td><td class="sc">Dame Rose.</td></tr> +</table> +<p><i>Provincial Comedians, Guards, Populace, Nobles, Pages.</i></p> + +<p>1638.</p> + + + + +<p class="title">MARION DE LORME</p> + + + + +<h3>ACT I</h3> + +<p class="center">THE MEETING</p> + +<p><span class="sc">Scene.</span>—<i>Blois. A bed-chamber. A window opening on a balcony at the +back. To the right, a table with a lamp, and an armchair. To the left a +door, covered by a portière of tapestry. In the background a bed</i></p> + + +<h4>SCENE I</h4> + +<p class="scene"><i><span class="sc">Marion de Lorme</span>, in a very elegant wrapper, sitting beside the table, +embroidering. <span class="sc">Marquis de Saverny</span>, very young man, blonde, without +mustache, dressed in the latest fashion of 1638</i></p> + +<p class="speaker">SAVERNY (<i>approaching <span class="sc">Marion</span> and trying to embrace her</i>).</p> +<div class="dialog"> +<span class="i0">Let us be reconciled, my sweet Marie!</span> +</div> + +<p class="speaker">MARION (<i>pushing him away</i>).</p> + +<div class="dialog"> +<span class="i0">Not such close reconciliation, please!</span> +</div> + +<p class="speaker">SAVERNY (<i>insisting</i>).</p> + +<div class="dialog"> +<span class="i0">Just one kiss!</span> +</div> + +<p class="speaker">MARION (<i>angrily</i>).</p> + +<div class="dialog"> +<span class="m2">Marquis!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">What a rage! Your mouth</span><br /> +<span class="i0">Had sweeter manners, not so long ago!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Ah, you forget!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">No, I remember, dear.</span> +</div> + +<p class="speaker">MARION (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">The bore! the tiresome creature!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">Speak, fair one!</span><br /> +<span class="i0">What does this swift, unkind departure mean?</span><br /> +<span class="i0">While all are seeking you at Place Royale,</span><br /> +<span class="i0">Why do you hide yourself at Blois? Traitress,</span><br /> +<span class="i0">What have you done here all these two long months?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">I do what pleases me, and what I wish</span><br /> +<span class="i0">Is right. I'm free, my lord!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">Free! Yes. But those</span><br /> +<span class="i0">Whose hearts you've stolen, are they also free?</span><br /> +<span class="i0">I? Gondi, who omitted half his Mass</span><br /> +<span class="i0">The other day, because he had a duel</span><br /> +<span class="i0">Upon his hands for you? Nesmond, D'Arquien,</span><br /> +<span class="i0">The two Caussades, Pressigny, whom your flight</span><br /> +<span class="i0">Has left so wretched, so morose, even</span><br /> +<span class="i0">Their wives wish you were back in Paris, that</span><br /> +<span class="i0">They might have gayer husbands!</span> +</div> + +<p class="speaker">MARION (<i>smiling</i>).</p> + +<div class="dialog"> +<span class="m4">Beauvillain?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Is still in love.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Cereste?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">Adores you yet.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">And Pons?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m2">Oh, as for him, he hates you!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">Proof</span><br /> +<span class="i0">He is the only one who loves me! Well,</span><br /> +<span class="i0">The President?</span><br /> +<span class="i0">[<i>Laughing.</i>] The old man! What's his name?</span><br /> +<p class="staging">[<i>Laughing more heartily.</i></p> +<span class="i0">Leloup!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m2">He's waiting for you, and meanwhile</span><br /> +<span class="i0">He keeps your portrait and sings odes to it.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">He's loved me two years now, in effigy.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">He'd much prefer to burn you. Tell me how</span><br /> +<span class="i0">You keep away from such dear friends.</span> +</div> + +<p class="speaker">MARION (<i>serious, and lowering her eyes</i>).</p> + +<div class="dialog"> +<span class="m5">That's just</span><br /> +<span class="i0">The reason, Marquis; to be frank with you,</span><br /> +<span class="i0">Those brilliant follies which seduced my youth</span><br /> +<span class="i0">Have given me much more misery than joy.</span><br /> +<span class="i0">In a retreat, a convent cell, perhaps,</span><br /> +<span class="i0">I want to try to expiate my life.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">I'll wager there's a love-tale behind that.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">You dare to think—</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">That never a nun's veil</span><br /> +<span class="i0">Surmounted eyes so full of earthly fire.</span><br /> +<span class="i0">It could not be. You love some poor provincial!</span><br /> +<span class="i0">For shame! To end a fine romance with such</span><br /> +<span class="i0">A page!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">It isn't true!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">Let's make a wager!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Dame Rose, what time is it?</span> +</div> + +<p class="speaker">DAME ROSE (<i>outside</i>).</p> + +<div class="dialog"> +<span class="m4">Almost midnight!</span> +</div> + +<p class="speaker">MARION (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">Midnight!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m2">That is a most ingenious way</span><br /> +<span class="i0">Of saying, "Time to go."</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">I live retired,</span><br /> +<span class="i0">Receiving no one, and unknown to all.</span><br /> +<span class="i0">Besides, 'tis dangerous to be out late:</span><br /> +<span class="i0">The street is lonely, full of robbers.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">Well,</span><br /> +<span class="i0">They can rob me.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">And oftentimes they kill!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Good! they can kill me.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">But—</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">You are divine!</span><br /> +<span class="i0">But I'll not stir one foot before I know</span><br /> +<span class="i0">Who this gay shepherd is, who's routed us!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">There's no one!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m2">I will be discreet. We courtiers,</span><br /> +<span class="i0">Whom people think so mad, so curious</span><br /> +<span class="i0">And spiteful, are maligned. We gossip, but</span><br /> +<span class="i0">We never talk! You're silent?</span><br /> +<span class="m3">[<i>Sits down.</i>] Then I'll stay!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">What does it matter? Well, it's true! I love!</span><br /> +<span class="i0">I'm waiting for him!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">That's the way to talk!</span><br /> +<span class="i0">That's right! Where is it you expect him?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">Here!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">When?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Now! [<i>She goes to the balcony and listens.</i></span><br /> +<span class="m3">Hark! that is he perhaps.</span><br /> +<span class="m4">[<i>Coming back.</i>] 'Tis not.</span><br /> +<span class="i0">Now are you satisfied?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">Not quite!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">Please go!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">I want to know his name, this proud gallant,</span><br /> +<span class="i0">For whose reception I am thus dismissed.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Didier is all the name I know for him.</span><br /> +<span class="i0">Marie is all the name he knows for me.</span> +</div> + +<p class="speaker">SAVERNY (<i>laughing</i>).</p> + +<div class="dialog"> +<span class="i0">Is't true?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Yes, true!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">This is a pastoral,</span><br /> +<span class="i0">And no mistake. 'Tis Racan, pure! To enter,</span><br /> +<span class="i0">I have no doubt he scales the wall.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">Perhaps.</span><br /> +<span class="i0">Please go! [<i>Aside.</i>] He wearies me to death!</span> +</div> + +<p class="speaker">SAVERNY (<i>becoming serious</i>).</p> + +<div class="dialog"> +<span class="m5">Of course</span><br /> +<span class="i0">He's noble.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">I don't know.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">What?</span> + +<p class="staging">[<i>To <span class="sc">Marion</span>, who is gently pushing him toward the door.</i></p> + +<span class="m5">I am going! [<i>Coming back.</i></span><br /> +<span class="i0">Just one word more! I had forgotten. Look!</span> + +<p class="staging">[<i>He draws a book out of his pocket and gives it to <span class="sc">Marion</span>.</i></p> + +<span class="i0">An author who is not a fool, did this.</span><br /> +<span class="i0">It's making a great stir.</span> +</div> + +<p class="speaker">MARION (<i>reading the title</i>).</p> + +<div class="dialog"> +<span class="m4">"Love's Garland"—ah!</span><br /> +<span class="i0">"To Marion de Lorme."</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">They talk of nothing</span><br /> +<span class="i0">But this in Paris. That book and "The Cid"</span><br /> +<span class="i0">Are the successful efforts of the day.</span> +</div> + +<p class="speaker">MARION (<i>taking the book</i>).</p> + +<div class="dialog"> +<span class="i0">It's very civil of you; now, good-night!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">What is the use of fame? Alack-a-day!</span><br /> +<span class="i0">To come to Blois and love a rustic! Bah!</span> +</div> + +<p class="speaker">MARION (<i>calling to <span class="sc">Dame Rose</span></i>).</p> + +<div class="dialog"> +<span class="i0">Take care of the Marquis, and show him out!</span> +</div> + +<p class="speaker">SAVERNY (<i>saluting her</i>).</p> + +<div class="dialog"> +<span class="i0">Ah, Marion, you've degenerated! [<i>He goes out.</i></span> +</div> + + +<h4>SCENE II</h4> + +<p class="scene"><i><span class="sc">Marion</span>, afterward <span class="sc">Didier</span></i></p> + +<p class="speaker">MARION (<i>alone, shuts the door by which <span class="sc">Saverny</span> went out</i>).</p> + +<div class="dialog"> +<span class="m5">Go—</span><br /> +<span class="i0">Go quickly! Oh, I feared lest Didier—</span><br /> +<p class="staging">[<i>Midnight strikes.</i></p> +<span class="m5">Hark!</span><br /> +<span class="i0">It's striking midnight! Didier should be here!</span><br /> + +<p class="staging">[<i>She goes to the balcony and looks into the street.</i></p> + +<span class="i0">No one!</span><br /> + +<p class="staging">[<i>She comes back and sits down impatiently.</i></p> + +<span class="m2">Late! To be late—so soon!</span><br /> + +<p class="staging">[<i>A young man appears behind the balustrade of the balcony, jumps over +it lightly, enters, places his cloak and sword on the armchair. Costume +of the day: all black: boots. He takes one step forward, pauses</i> <i>and +contemplates <span class="sc">Marion</span>, sitting with her eyes cast down.</i></p> + +<span class="m5">At last!</span><br /> + +<p class="staging">[<i>Reproachfully.</i></p> + +<span class="i0">To let me count the hour alone!</span> +</div> + +<p class="speaker">DIDIER (<i>seriously</i>).</p> + +<div class="dialog"> +<span class="m5">I feared</span><br /> +<span class="i0">To enter!</span> +</div> + +<p class="speaker">MARION (<i>hurt</i>).</p> + +<div class="dialog"> +<span class="m2">Ah!</span> +</div> + +<p class="speaker">DIDIER (<i>without noticing it</i>).</p> + +<div class="dialog"> +<span class="m3">Down there, outside the wall,</span><br /> +<span class="i0">I was o'ercome with pity. Pity? yes,</span><br /> +<span class="i0">For you! I, poor, accursed, unfortunate,</span><br /> +<span class="i0">Stood there a long time thinking, ere I came!</span><br /> +<span class="i0">"Up there an angel waits," I thought, "in virgin grace,</span><br /> +<span class="i0">Untouched by sin—a being chaste and fair,</span><br /> +<span class="i0">To whose sweet face shining on life's pathway</span><br /> +<span class="i0">Each passer-by should bend his knees and pray.</span><br /> +<span class="i0">I, who am but a vagrant 'mongst the crowd,</span><br /> +<span class="i0">Why should I seek to stir that placid stream?</span><br /> +<span class="i0">Why should I pluck that lily? With the breath</span><br /> +<span class="i0">Of human passion, why should I consent</span><br /> +<span class="i0">To cloud the azure of that radiant soul?</span><br /> +<span class="i0">Since in her loyalty she trusts to me,</span><br /> +<span class="i0">Since virtue shields her with its sanctity,</span><br /> +<span class="i0">Have I a right to take her gift of love,</span><br /> +<span class="i0">To bring my storms into her perfect day?"</span> +</div> + +<p class="speaker">MARION (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">This is theology, it seems to me!</span><br /> +<span class="i0">I wonder if he is a Huguenot?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">But when your tender voice fell on my ear,</span><br /> +<span class="i0">I wrestled with my doubts no more—I came.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Oh, then you heard me speaking—that is strange!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Yes; with another person.</span> +</div> + +<p class="speaker">MARION (<i>quickly</i>).</p> + +<div class="dialog"> +<span class="m4">With Dame Rose!</span><br /> +<span class="i0">She talks just like a man, don't you think so?</span><br /> +<span class="i0">Such a strong voice! Ah, well, since you are here</span><br /> +<span class="i0">I am no longer angry! Come, sit down.</span> + +<p class="staging">[<i>Indicating a place at her side.</i></p> + +<span class="i0">Sit here!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">No! at your feet.</span><br /> + +<p class="staging">[<i>He sits on a stool at <span class="sc">Marion's</span> feet and looks at her for some +moments in complete silence.</i></p> + +<span class="m4">Hear me, Marie!</span><br /> +<span class="i0">I have no name but Didier—never knew</span><br /> +<span class="i0">My father nor my mother. I was left,</span><br /> +<span class="i0">A baby, on the threshold of a church.</span><br /> +<span class="i0">A woman, old, belonging to the people,</span><br /> +<span class="i0">Preserved me, was my mother and my nurse.</span><br /> +<span class="i0">She brought me up a Christian, then she died</span><br /> +<span class="i0">And left me all she had—nine hundred francs</span><br /> +<span class="i0">A year, on which I live. To be alone</span><br /> +<span class="i0">At twenty is a sad and bitter thing!</span><br /> +<span class="i0">I traveled—saw mankind: I learned to hate</span><br /> +<span class="i0">A few and to despise the rest. For on</span><br /> +<span class="i0">This tarnished mirror we call human life,</span><br /> +<span class="i0">I saw nothing but pride and misery</span><br /> +<span class="i0">And pain; so that, although I'm young, I'm old,</span><br /> +<span class="i0">And am as weary of the world as are</span><br /> +<span class="i0">The men who leave it. Never touched a thing</span><br /> +<span class="i0">That did not tear and lacerate my soul!</span><br /> +<span class="i0">Although the world was bad, I found men worse.</span><br /> +<span class="i0">Thus I have lived; alone and poor and sad,</span><br /> +<span class="i0">Until you came, and you have set things right.</span><br /> +<span class="i0">I hardly know you. At the corner of</span><br /> +<span class="i0">A Paris street you first appeared to me.</span><br /> +<span class="i0">Then afterward I met you, and I thought</span><br /> +<span class="i0">Your eyes were sweet, your speech was beautiful!</span><br /> +<span class="i0">I was afraid of loving you, and fled!</span><br /> +<span class="i0">But destiny is strange: I found you here,</span><br /> +<span class="i0">I find you everywhere, as if you were</span><br /> +<span class="i0">My guardian angel. So at last, my love</span><br /> +<span class="i0">Grew powerful, resistless, and I felt</span><br /> +<span class="i0">I must talk with you. You were willing. Now</span><br /> +<span class="i0">They're at your service, both my heart and life.</span><br /> +<span class="i0">I will do anything that you wish done.</span><br /> +<span class="i0">If there is any man or anything</span><br /> +<span class="i0">That troubles you, or you have any whim</span><br /> +<span class="i0">And somebody must die to satisfy it—</span><br /> +<span class="i0">Must die, and make no sign—and feel 'twas worth</span><br /> +<span class="i0">Death any time to see you smile; if you</span><br /> +<span class="i0">Need such a man, speak, lady: I am here!</span> +</div> + +<p class="speaker">MARION (<i>smiling</i>).</p> + +<div class="dialog"> +<span class="i0">You've a strange nature, but I love you so!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">You love me! Ah, take care! One dare not say</span><br /> +<span class="i0">Such words in any careless way! Love me?</span><br /> +<span class="i0">Oh, do you know what loving means? What 'tis</span><br /> +<span class="i0">To feel love take possession of our blood,</span><br /> +<span class="i0">Become our daily breath? To feel this thing</span><br /> +<span class="i0">Which long has smoldered burst to flame, and rise</span><br /> +<span class="i0">A great, majestic, purifying fire?</span><br /> +<span class="i0">To feel it burn up clean within our hearts</span><br /> +<span class="i0">The refuse other passions have left there?</span><br /> +<span class="i0">This love, hopeless indeed, but limitless,</span><br /> +<span class="i0">Which outlives all things, even happiness—</span><br /> +<span class="i0">Is this the kind of love you mean?</span> +</div> + +<p class="speaker">MARION (<i>touched</i>).</p> + +<div class="dialog"> +<span class="m5">Indeed!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">You do not know it, but I love you so!</span><br /> +<span class="i0">From that first time I saw you, my dark life</span><br /> +<span class="i0">Was shot with sunlight streaming from your eyes;</span><br /> +<span class="i0">Since then all's different. To me you seem</span><br /> +<span class="i0">Some wonderful creation, not of earth.</span><br /> +<span class="i0">My life, in whose dark gloom I groaned so long,</span><br /> +<span class="i0">Grows almost beautiful when you are by.</span><br /> +<span class="i0">For 'til you came, I'd wandered, suffered, wept;</span><br /> +<span class="i0">I'd struggled, fallen—but I had not loved.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Poor Didier!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Speak, Marie!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">Well, then, I do.</span><br /> +<span class="i0">I love with just this love—love you as much</span><br /> +<span class="i0">And maybe more than you love me! It was</span><br /> +<span class="i0">Not destiny that brought me here. 'Twas I</span><br /> +<span class="i0">Who came, who followed you, and I am yours!</span> +</div> + +<p class="speaker">DIDIER (<i>falling on his knees</i>).</p> + +<div class="dialog"> +<span class="i0">Oh, do not cheat me! Give me truth, Marie!</span><br /> +<span class="i0">If to my ardent love your love responds,</span><br /> +<span class="i0">The world holds no possession rich as mine!</span><br /> +<span class="i0">My whole life, kneeling at your feet, will be</span><br /> +<span class="i0">One sigh of speechless, blinding ecstasy.</span><br /> +<span class="i0">But do not cheat me!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Do you want a proof</span><br /> +<span class="i0">Of love, my Didier?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Yes!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">Then speak!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">You are—</span><br /> +<span class="i0">Quite free?</span> +</div> + +<p class="speaker">MARION (<i>embarrassed</i>).</p> + +<div class="dialog"> +<span class="m2">Free? Yes!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Then take me for a brother,</span><br /> +<span class="i0">For a protector—be my wife?</span> +</div> + +<p class="speaker">MARION (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m5">His wife!</span><br /> +<span class="i0">Ah, why am I not worthy?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">You consent?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">I—can—</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">Don't say it, please—I understand!</span><br /> +<span class="i0">An orphan, without fortune! What a fool!</span><br /> +<span class="i0">Give back my pain, my gloom, my solitude!</span><br /> +<span class="i0">Farewell!</span> +</div> + +<p class="staging">[<i>He starts to go; <span class="sc">Marion</span> holds him back.</i></p> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Didier, what are you saying?</span> +</div> + +<p class="staging">[<i>She bursts into tears.</i></p> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">True!</span><br /> +<span class="i0">But why this hesitation? [<i>Going back to her.</i></span><br /> +<span class="m4">Can't you feel</span><br /> +<span class="i0">The ecstasy of being, each to each, a world,</span><br /> +<span class="i0">A country, heaven; in some deserted spot</span><br /> +<span class="i0">To hide a happiness kings could not buy.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">It would be heaven!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Will you have it? Come!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">[<i>Aside.</i>] Accursed woman! [<i>Aloud.</i>] No, it cannot be.</span> +</div> + +<p class="staging">[<i>She tears herself from out his arms, and falls on the armchair.</i></p> + +<p class="speaker">DIDIER (<i>freezingly</i>).</p> + +<div class="dialog"> +<span class="i0">The offer was not generous, I know.</span><br /> +<span class="i0">You've answered me. I'll speak of it no more!</span><br /> +<span class="i0">Good-by!</span> +</div> + +<p class="speaker">MARION. (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">Alack, the day I pleased him! [<i>Aloud.</i>] Stay!</span><br /> +<span class="i0">I'll tell you. You have hurt me to the soul.</span><br /> +<span class="i0">I will explain—</span> +</div> + +<p class="speaker">DIDIER (<i>coldly</i>).</p> + +<div class="dialog"> +<span class="m3">What were you reading, madame,</span><br /> +<span class="i0">When I came?</span> + +<p class="staging">[<i>Takes the book from the table and reads.</i></p> + +<span class="m3">"To Marion de Lorme.</span><br /> +<span class="i0">Love's Garland!" Yes, the beauty of the day!</span> + +<p class="staging">[<i>Throwing the book violently to the floor.</i></p> + +<span class="i0">Vile creature! a dishonor to her sex!</span> +</div> + +<p class="speaker">MARION. (<i>trembling</i>).</p> + +<div class="dialog"> +<span class="i0">But—she—</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">What are you doing with such books?</span><br /> +<span class="i0">How came they here?</span> +</div> + +<p class="speaker">MARION. (<i>inaudibly, and looking down</i>).</p> + +<div class="dialog"> +<span class="m3">They came by chance.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Do you—</span><br /> +<span class="i0">You who have eyes so pure, a brow so chaste—</span><br /> +<span class="i0">Do you know what she is—this woman? Well,</span><br /> +<span class="i0">She's beautiful in body, and deformed</span><br /> +<span class="i0">In soul! A Phryne, selling everywhere,</span><br /> +<span class="i0">To every man, her love, which is an insult,</span><br /> +<span class="i0">An infamy!</span> +</div> + +<p class="speaker">MARION (<i>her head in her hands</i>).</p> + +<div class="dialog"> +<span class="m2">My God!</span> +</div> + +<p class="staging">[<i>A noise of footsteps, a clashing of swords outside, and cries.</i></p> + +<p class="speaker">VOICE IN THE STREET.</p> + +<div class="dialog"> +<span class="m3">Help! Murder! Help!</span> +</div> + +<p class="speaker">DIDIER (<i>surprised</i>).</p> + +<div class="dialog"> +<span class="i0">What noise is that out there upon the square?</span> +</div> + +<p class="staging">[<i>Cries continue.</i></p> + +<p class="speaker">VOICE IN THE STREET.</p> + +<div class="dialog"> +<span class="i0">Help! Murder! Help!</span> +</div> + +<p class="speaker">DIDIER (<i>looking from the balcony</i>).</p> + +<div class="dialog"> +<span class="m3">They're killing some one! Ha!</span> +</div> + +<p class="staging">[<i>He takes his sword and step's over the balustrade. <span class="sc">Marion</span> rises, +runs to him and tries to hold him back by his cloak.</i></p> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Don't, Didier, if you love me! They'll kill you!</span><br /> +<span class="i0">Don't go!</span> +</div> + +<p class="speaker">DIDIER (<i>jumping down into the street</i>).</p> + +<div class="dialog"> +<span class="m2">He is the one they're going to kill!</span><br /> +<span class="i0">Poor man! [<i>Outside, to combatants.</i></span><br /> +<span class="m2">Stand off! Hold firmly, sir, and push!</span><br /> + +<p class="staging">[<i>Clashing of swords.</i></p> + +<span class="i0">There, wretch!</span> +</div> + +<p class="staging">[<i>Noise of swords, voices, and footsteps.</i></p> + +<p class="speaker">MARION. (<i>on the balcony, terrified</i>).</p> + +<div class="dialog"> +<span class="m2">Just Heaven! They are six 'gainst two!</span> +</div> + +<p class="speaker">VOICE IN THE STREET.</p> + +<div class="dialog"> +<span class="i0"> +This man—he is the devil!</span> +</div> + +<p class="staging">[<i>The clashing of swords subsides little by little, then entirely +ceases. The sounds of footsteps become indistinct. <span class="sc">Didier</span> reappears +scaling the balcony.</i></p> + +<p class="speaker">DIDIER (<i>outside of the balcony and turned toward the street</i>).</p> + +<div class="dialog"> +<span class="m4">You are safe;</span><br /> +<span class="i0">Now go your way!</span> +</div> + +<p class="speaker">SAVERNY (<i>from outside</i>).</p> + +<div class="dialog"> +<span class="m3">Not 'til I've grasped your hand—</span><br /> +<span class="i0">Not 'til I've thanked you, if you please!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Pass on!</span><br /> +<span class="i0">I will consider myself thanked.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">Not so!</span><br /> +<span class="i0">I mean to thank you. [<i>Scaling balcony.</i></span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Can't you speak from there</span><br /> +<span class="i0">And say "I thank you" without coming up?</span> +</div> + + +<h4>SCENE III</h4> + +<p class="scene sc">Marion, Didier, Saverny</p> + +<p class="speaker">SAVERNY (<i>jumping into the room, sword in hand</i>).</p> + +<div class="dialog"> +<span class="i0">Upon my soul! 'Tis a strange chivalry</span><br /> +<span class="i0">To save my life and push me from the door!</span><br /> +<span class="i0">The door—that is to say, the window! No,</span><br /> +<span class="i0">They shall not say one of my family</span><br /> +<span class="i0">Was bravely rescued by a nobleman</span><br /> +<span class="i0">And did not in return say "Marquis—" Pray,</span><br /> +<span class="i0">What is your name?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Didier.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">Didier—of what?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Didier, of nothing! People kill you, and</span><br /> +<span class="i0">I help you—that is all! Now go!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">Indeed!</span><br /> +<span class="i0">That's your way, is it? Why not have let</span><br /> +<span class="i0">Those traitors kill me? 'Twould have pleased me more.</span><br /> +<span class="i0">For without you I'd be a dead man now.</span><br /> +<span class="i0">Six thieves against me! Dead! Of course! What else?</span><br /> +<span class="i0">Six daggers against one thin sword—</span> + +<p class="staging">[<i>Perceiving <span class="sc">Marion</span>, who has been trying to avoid him.</i></p> + +<span class="m5">Oh, ho!</span><br /> +<span class="i0">You're not alone! At last I understand!</span><br /> +<span class="i0">I'm robbing you of pleasure. Pardon me!</span><br /> +<span class="i0">[<i>Aside.</i>] I'd like to see the lady!</span> + +<p class="staging">[<i>Approaches <span class="sc">Marion</span>, who is trembling: he recognizes her.</i></p> + +<span class="m4">It is you!</span> + +<p class="staging">[<i>Indicating <span class="sc">Didier</span>.</i></p> + +<span class="i0">Then he's the one!</span> +</div> + +<p class="speaker">MARION (<i>low</i>).</p> + +<div class="dialog"> +<span class="m3">Hush! You will ruin all!</span> +</div> + +<p class="speaker">SAVERNY (<i>bowing</i>).</p> + +<div class="dialog"> +<span class="i0">Madame!</span> +</div> + +<p class="speaker">MARION (<i>low</i>).</p> + +<div class="dialog"> +<span class="m2">I love for the first time!</span> +</div> + +<p class="speaker">DIDIER (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m5">'Sdeath!</span><br /> +<span class="i0">That man is looking at her with bold eyes.</span> +</div> + +<p class="staging">[<i>He overturns the lamp with a blow.</i></p> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">You put the lamp out, sir?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">It would be wise</span><br /> +<span class="i0">For us to leave together, and at once.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">So be it, then! I follow you!</span> + +<p class="staging">[<i>To <span class="sc">Marion</span>, whom he salutes profoundly.</i></p> + +<span class="m5">Madame,</span><br /> +<span class="i0">Farewell!</span> +</div> + +<p class="speaker">DIDIER (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m2">What a rare coxcomb!</span><br /> +<span class="m2">[<i>Aloud to <span class="sc">Saverny</span>.</i>] Come, sir, come!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">You're brusk, but I'm in debt to you for life.</span><br /> +<span class="i0">If ever you should need fraternal friendship,</span><br /> +<span class="i0">Count upon me, Marquis de Saverny,</span><br /> +<span class="i0">Paris, Hôtel de Nesle.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Enough, sir! Come!</span><br /> +<span class="i0">[<i>Aside.</i>] To see her thus examined by a fool!</span> + +<p class="staging">[<i>They go out by the balcony. The voice of <span class="sc">Didier</span> is heard outside.</i></p> + +<span class="i0">Your road lies that way. Mine lies here!</span> +</div> + +<h4>SCENE IV</h4> + +<p class="scene sc">Marion, Dame Rose</p> + +<p class="speaker">MARION (<i>remains absorbed a moment, then calls</i>).</p> + +<div class="dialog"> +<span class="m5">Dame Rose!</span> + +<p class="staging">[<i><span class="sc">Dame Rose</span> appears. <span class="sc">Marion</span> points to the window.</i></p> + +<span class="i0">Go shut it!</span> + +<p class="staging">[<i><span class="sc">Dame Rose</span>, having shut the window, turns and sees <span class="sc">Marion</span> wiping +away a tear.</i></p> +</div> + +<p class="speaker">DAME ROSE (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m2">She is weeping!</span><br /> +<span class="m3">[<i>Aloud.</i>] It is time</span><br /> +<span class="i0">To sleep, madame!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Yes, time for you—you people.</span> + +<p class="staging">[<i>Undoing her hair.</i></p> + +<span class="i0">Come, help me to undress!</span> +</div> + +<p class="speaker">DAME ROSE (<i>helping her to undress</i>).</p> + +<div class="dialog"> +<span class="m5">The gentleman</span><br /> +<span class="i0">To-night was pleasant. Is he rich?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">Not rich.</span> +</div> + +<p class="speaker">DAME ROSE.</p> + +<div class="dialog"> +<span class="i0">But gallant.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">No, nor gallant.</span> + +<p class="staging">[<i>Turning to <span class="sc">Dame Rose</span>.</i></p> + +<span class="m4">He did not</span><br /> +<span class="i0">So much as kiss my hand!</span> +</div> + +<p class="speaker">DAME ROSE.</p> + +<div class="dialog"> +<span class="m4">What use is he?</span> +</div> + +<p class="speaker">MARION (<i>pensive</i>).</p> + +<div class="dialog"> +<span class="i0">I love him!</span> +</div> + +<div class="imgcenter" id="img02"> +<img width="379" height="632" src="images/marion3.jpg" alt="[Illustration: Marion de Lorme.]" /> +</div> + + + + +<h3>ACT II</h3> + +<p class="center">THE ENCOUNTER</p> + +<p><span class="sc">Scene.</span>—<i>Blois. The door of a public-house. A square. In the +background the city of Blois is visible in the form of an amphitheater, +also the towers of St. Nicholas upon the hill, which is covered with +houses</i></p> + + +<h4>SCENE I</h4> + +<p class="scene"><span class="sc">Count de Gassé, Marquis de Brichanteau, Viscount de Bouchavannes, +Chevalier de Rochebaron</span>. <i>They are seated at tables in front of the +door: some are smoking, the others are throwing dice and drinking. +Afterward <span class="sc">Chevalier de Montpesat, Count de Villac</span>; afterward +<span class="sc">L'Angely</span>; afterward <span class="sc">The Town-Crier</span> and The Populace</i></p> + +<p class="speaker">BRICHANTEAU (<i>rising, to <span class="sc">Gassé</span>, who enters</i>).</p> + +<div class="dialog"> +<span class="m2">Gassé! [<i>They shake hands.</i></span><br /> +<span class="m3">You are come to join</span><br /> +<span class="i0">The regiment at Blois: our compliments</span><br /> +<span class="i0">Upon your burial. [<i>Examining his clothes.</i></span><br /> +<span class="m3">Ah!</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m4">It is the style—</span><br /> +<span class="i0">This orange with blue ribbons.</span> + +<p class="staging">[<i>Folding his arms and curling his mustache.</i></p> + +<span class="m4">You must know</span><br /> +<span class="i0">That Blois is forty miles from Paris!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m5">Yes,</span><br /> +<span class="i0">It's China!</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m2">That makes womankind rebel:</span><br /> +<span class="i0">To follow us they must exile themselves.</span> +</div> + +<p class="speaker">BOUCHAVANNES (<i>turning from the game</i>).</p> + +<div class="dialog"> +<span class="i0">You come from Paris?</span> +</div> + +<p class="speaker">ROCHEBARON (<i>taking out his pipe</i>).</p> + +<div class="dialog"> +<span class="m3">Is there any news?</span> +</div> + +<p class="speaker">GASSÉ (<i>bowing</i>).</p> + +<div class="dialog"> +<span class="i0">No, nothing. Corneille still upsets all heads.</span><br /> +<span class="i0">Guiche has obtained the order; Ast is duke.</span><br /> +<span class="i0">Of trifles, plenty—thirty Huguenots</span><br /> +<span class="i0">Were hung; a quantity of duels. On</span><br /> +<span class="i0">The third, D'Angennes fought Arquien on account</span><br /> +<span class="i0">Of wearing point of Genoa; the tenth,</span><br /> +<span class="i0">Lavardie had a rendezvous with Pons,</span><br /> +<span class="i0">Because he'd taken Sourdis' wife from him.</span><br /> +<span class="i0">Sourdis and D'Ailly met about a creature</span><br /> +<span class="i0">In the theater Mondori. On the ninth,</span><br /> +<span class="i0">Lachâtre fought with Nogent because he wrote</span><br /> +<span class="i0">Three rhymes of Colletet's badly; Margaillan</span><br /> +<span class="i0">With Gorde, about the time of day; D'Humière</span><br /> +<span class="i0">With Gondi on the way to walk in church;</span><br /> +<span class="i0">And all the Brissacs 'gainst all the Soubises</span><br /> +<span class="i0">For some bet on a horse against a dog.</span><br /> +<span class="i0">Then Caussade and Latournelle fought for nothing—</span><br /> +<span class="i0">Merely for fun: Caussade killed Latournelle.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">Gay Paris! Duels have begun again.</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">It is the fashion!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m3">Feasts and love and fighting!</span><br /> +<span class="i0">There is the only place to live!</span><br /> +<span class="m3">[<i>Yawning.</i>] All one</span><br /> +<span class="i0">Can do here is to die of weariness.</span><br /> +<span class="i0">[<i>To <span class="sc">Gassé</span>.</i>] You say Caussade killed Latournelle?</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m5">He did,</span><br /> +<span class="i0">With a good gash!</span> + +<p class="staging">[<i>Examining <span class="sc">Rochebaron's</span> sleeves.</i></p> + +<span class="m3">What's that you wear, my friend?</span><br /> +<span class="i0">Those trimmings are not fashionable now.</span><br /> +<span class="i0">What! cords and buttons? Nothing could be worse.</span><br /> +<span class="i0">You must have bows and ribbons.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m4">Pray repeat</span><br /> +<span class="i0">The list of duels. How about the King?</span><br /> +<span class="i0">What does he say?</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m3">The Cardinal's enraged</span><br /> +<span class="i0">And means to stop it.</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="m3">Any news from camp?</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">I think we captured Figuère by surprise—</span><br /> +<span class="i0">Or else we lost it.</span><br /> +<span class="m2">[<i>Reflecting.</i>] Yes, that's it. 'Tis lost!</span><br /> +<span class="i0">They took it from us.</span> +</div> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="m3">Ah! What said the King?</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">The Cardinal is most dissatisfied.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">How is the Court? I hope the King is well.</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">Alas! the Cardinal has fever and</span><br /> +<span class="i0">The gout, and goes out only in a litter.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">Queer! We talk King, you answer Cardinal!</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">It is the fashion!</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="m3">So there's nothing new!</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">Did I say so? There's been a miracle,</span><br /> +<span class="i0">A prodigy, which has amazed all Paris</span><br /> +<span class="i0">For two months past; the flight, the disappearance—</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">Go on! Of whom?</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m3">Of Marion de Lorme,</span><br /> +<span class="i0">The fairest of the fair!</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>with an air of mystery</i>).</p> + +<div class="dialog"> +<span class="m4">Here's news for you.</span><br /> +<span class="i0">She's here!</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m2">At Blois?</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m3">Incognito!</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m5">What! she?</span><br /> +<span class="i0">In this place? Oh, you must be jesting, sir!</span><br /> +<span class="i0">Fair Marion, who sets the fashions! Bah!</span><br /> +<span class="i0">This Blois is the antipodes of Paris.</span><br /> +<span class="i0">Observe! How ugly, old, ungainly, 'tis!</span><br /> +<span class="i0">Even those towers—</span> + +<p class="staging">[<i>Indicating the towers of St. Nicholas.</i></p> + +<span class="m3">Uncouth and countrified!</span> +</div> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="i0">That's true.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m2">Won't you believe Saverny when</span><br /> +<span class="i0">He says he saw her, hidden somewhere with</span><br /> +<span class="i0">A lover, and this lover saved his life</span><br /> +<span class="i0">When thieves attacked him in the street at night?—</span><br /> +<span class="i0">Good thieves, who took his purse for charity,</span><br /> +<span class="i0">And just desired his watch to know the time.</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">You tell me wonders!</span> +</div> + +<p class="speaker">ROCHEBARON (<i>to <span class="sc">Brichanteau</span></i>).</p> + +<div class="dialog"> +<span class="m3">Are you sure of it?</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">As sure as that I have six silver bezants</span><br /> +<span class="i0">Upon a field of azure. Saverny</span><br /> +<span class="i0">Has no desire, at present, but to find</span><br /> +<span class="i0">This man.</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="m2">He ought to find him at her house.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">She's changed her name and lodging, and all trace</span><br /> +<span class="i0">Of her is lost.</span> +</div> + +<p class="staging">[<i><span class="sc">Marion</span> and <span class="sc">Didier</span> cross the back of the stage slowly without +being noticed by the talkers; they enter a small door in one of the +houses on the side.</i></p> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m3">To have to come to Blois</span><br /> +<span class="i0">To find our Marion, a provincial!</span> +</div> + +<p class="staging">[<i>Enter <span class="sc">Count de Villac</span> and <span class="sc">Chevalier de Montpesat</span>, disputing +loudly.</i></p> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="m5">No!</span><br /> +<span class="i0">I tell you no!</span> +</div> + +<p class="speaker">MONTPESAT.</p> + +<div class="dialog"> +<span class="m3">And I—I tell you, yes!</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="i0">Corneille is bad!</span> +</div> + +<p class="speaker">MONTPESAT.</p> + +<div class="dialog"> +<span class="m3">To treat Corneille like that—</span><br /> +<span class="i0">The author of "The Cid" and of "Melite."</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="i0">"Melite"? Well, I will grant you that is good;</span><br /> +<span class="i0">But he degenerated after that,</span><br /> +<span class="i0">As they all do. I'll do the best I can</span><br /> +<span class="i0">To satisfy you: talk about "Melite,"</span><br /> +<span class="i0">"The Gallery of the Palace," but "The Cid!"</span><br /> +<span class="i0">What is it, pray?</span> +</div> + +<p class="speaker">GASSÉ (<i>to <span class="sc">Montpesat</span></i>).</p> + +<div class="dialog"> +<span class="m3">You are conservative.</span> +</div> + +<p class="speaker">MONTPESAT.</p> + +<div class="dialog"> +<span class="i0">"The Cid" is good!</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="m3">I tell you it is bad!</span><br /> +<span class="i0">Your "Cid"—why Scudéry can crush it with</span><br /> +<span class="i0">A touch! Look at the style! It deals with things</span><br /> +<span class="i0">Extraordinary; has a vulgar tone;</span><br /> +<span class="i0">Describes things plainly by their common names;</span><br /> +<span class="i0">Besides, it is obscene, against the law!</span><br /> +<span class="i0">"The Cid" has not the right to wed Chimène!</span><br /> +<span class="i0">Now have you read Pyramus, Bradamante?</span><br /> +<span class="i0">When Corneille writes such tragedies, I'll read!</span> +</div> + +<p class="speaker">ROCHEBARON (<i>to <span class="sc">Montpesat</span></i>).</p> + +<div class="dialog"> +<span class="i0">"The Great and Last Soliman" of Mairet,</span><br /> +<span class="i0">You must read that: that is fine tragedy!</span><br /> +<span class="i0">But for your "Cid."</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="m3">What self-conceit he has!</span><br /> +<span class="i0">Does he not think he equals Boisrobert,</span><br /> +<span class="i0">Mairet, Gombault, Serisay, Chapelain,</span><br /> +<span class="i0">Bautru, Desmarets, Malleville, Faret,</span><br /> +<span class="i0">Cherisy, Gomberville, Colletet, Giry,</span><br /> +<span class="i0">Duryer—indeed, all the Academy?</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>laughing compassionately and shrugging his shoulders</i>).</p> + +<div class="dialog"> +<span class="i0">Good!</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="m2">Then the gentleman deigns to create!</span><br /> +<span class="i0">Create! Faith! after Garnier, Theophile,</span><br /> +<span class="i0">And Hardy! Oh, the coxcomb! To create!</span><br /> +<span class="i0">An easy thing! As if the famous minds</span><br /> +<span class="i0">Had left behind them any unused thing.</span><br /> +<span class="i0">On that point Chapelain rebukes him well!</span> +</div> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="i0">Corneille's a peasant!</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="m3">Yet, Monsieur Godeau,</span><br /> +<span class="i0">Bishop of Grasse, says he's a man of wit.</span> +</div> + +<p class="speaker">MONTPESAT.</p> + +<div class="dialog"> +<span class="i0">Much wit!</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="m2">If he would write some other way—</span><br /> +<span class="i0">Would follow Aristotle and good style.</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">Come, gentlemen, make peace. One thing is sure,</span><br /> +<span class="i0">Corneille is now the fashion: takes the place</span><br /> +<span class="i0">Of Garnier, just as in our day felt hats</span><br /> +<span class="i0">Have replaced velvet <i>mortiers</i>.</span> +</div> + +<p class="speaker">MONTPESAT.</p> + +<div class="dialog"> +<span class="m4">For Corneille</span><br /> +<span class="i0">I am, and for felt hats!</span> +</div> + +<p class="speaker">GASSÉ (<i>to <span class="sc">Montpesat</span></i>).</p> + +<div class="dialog"> +<span class="m4">You are too rash!</span><br /> +<span class="i0">[<i>To <span class="sc">Villac</span>.</i>] Garnier is very fine. I'm neutral; but</span><br /> +<span class="i0">Corneille has also his good points.</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="m5">Agreed!</span> +</div> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="i0">Agreed! He is a witty fellow and</span><br /> +<span class="i0">I like him!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m3">He has no nobility!</span> +</div> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="i0">A name so commonplace offends the ear.</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="i0">A family of petty lawyers, who</span><br /> +<span class="i0">Have gnawed at ducats 'til they obtained sous.</span> +</div> + +<p class="staging">[<i><span class="sc">L'Angely</span> enters, seats himself at a table alone, and in silence. He +is dressed in black velvet with gold trimming.</i></p> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="i0">Well, if the public like his rhapsodies</span><br /> +<span class="i0">The day of tragic-comedy is past.</span><br /> +<span class="i0">I swear to you the theater is doomed.</span><br /> +<span class="i0">It is because this Richelieu—</span> +</div> + +<p class="speaker">GASSÉ (<i>looking across at L'<span class="sc">Angely</span></i>).</p> + +<div class="dialog"> +<span class="m5">Say, <i>lordship</i>,</span><br /> +<span class="i0">Or else speak lower.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m3">Hell take this eminence!</span><br /> +<span class="i0">Is't not enough to manage everything?</span><br /> +<span class="i0">To rule our soldiers, finances, and us,</span><br /> +<span class="i0">Without controlling our poor language too?</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="i0">Down with this Richelieu, who flatters, kills:</span><br /> +<span class="i0">Man of the red hand and the scarlet robe!</span> +</div> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="i0">Of what use is the King?</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m4">In darkness, we—</span><br /> +<span class="i0">That is the people—march: eyes on a torch.</span><br /> +<span class="i0">He is the torch: the King's the lantern which</span><br /> +<span class="i0">In its bright glass protects the flame from wind.</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="i0">Oh, could our swords blow such a wind some day</span><br /> +<span class="i0">As to extinguish this devouring fire!</span> +</div> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="i0">If every one had the same mind as I!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">We would unite—</span><br /> +<span class="i0">[<i>To <span class="sc">Bouchavannes</span>.</i>] What do you think, Viscount?</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="i0">We'd give him one perfidious, useful blow!</span> +</div> + +<p class="speaker">L'ANGELY (<i>rising, with gloomy tone</i>).</p> + +<div class="dialog"> +<span class="i0">Conspiring! Young men! Think of Marillac!</span> +</div> + +<p class="staging">[<i>All shudder: turn away, and are silent with terror; all fix their eyes +on <span class="sc">L'Angely</span>, who silently resumes his seat.</i></p> + +<p class="speaker">VILLAC (<i>taking <span class="sc">Montpesat</span> aside</i>).</p> + +<div class="dialog"> +<span class="i0">My lord, when we were talking of Corneille,</span><br /> +<span class="i0">You spoke in tones that irritated me.</span><br /> +<span class="i0">In my turn I would like to say two words</span><br /> +<span class="i0">To you—</span> +</div> + +<p class="speaker">MONTPESAT.</p> + +<div class="dialog"> +<span class="m2">With sword—</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="m3">Yes.</span> +</div> + +<p class="speaker">MONTPESAT.</p> + +<div class="dialog"> +<span class="m4">Or with pistol?</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="m5">Both!</span> +</div> + +<p class="speaker">MONTPESAT (<i>taking his arm</i>).</p> + +<div class="dialog"> +<span class="i0">Let's go and find some corner in the town.</span> +</div> + +<p class="speaker">L'ANGELY (<i>rising</i>).</p> + +<div class="dialog"> +<span class="i0">A duel, sirs? Remember Boutteville.</span> +</div> + +<p class="staging">[<i>New consternation among the young men. <span class="sc">Villac</span> and <span class="sc">Montpesat</span> +separate, keeping their eyes fixed on <span class="sc">L'Angely</span>.</i></p> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="i0">Who is this man in black who frightens us?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">I'm L'Angely. I'm jester to the King.</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>laughing</i>).</p> + +<div class="dialog"> +<span class="i0">Then it's no wonder that the King is sad.</span> +</div> + +<p class="speaker">BOUCHAVANNES (<i>laughing</i>).</p> + +<div class="dialog"> +<span class="i0">Great fun he makes, this rabid cardinalist!</span> +</div> + +<p class="speaker">L'ANGELY (<i>standing</i>).</p> + +<div class="dialog"> +<span class="i0">Be careful, gentlemen! This minister</span><br /> +<span class="i0">Is mighty. A great mower, he! He makes</span><br /> +<span class="i0">Great seas of blood, and then he covers them</span><br /> +<span class="i0">With his red cloak and nothing more is said. [<i>Silence.</i></span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">Good faith!</span> +</div> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="m2">I'm blessed if I shall stir!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m5">Beside</span><br /> +<span class="i0">This jester Pluto was a funny man!</span> +</div> + +<p class="staging">[<i>A crowd of people enter from the streets and houses, and spread over +the Square. In the center appears <span class="sc">The Town-Crier</span> on horseback, with +four Town-servants in livery, one of whom blows the trumpet, while the +other beats the drum.</i></p> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="i0">What are these people doing? Ah, the crier!</span><br /> +<span class="i0">Well, paternosters are in order now!</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>to a juggler with a monkey on his back, who has joined the crowd</i>).</p> + +<div class="dialog"> +<span class="i0">Which one of you shows off the other, friend?</span> +</div> + +<p class="speaker">MONTPESAT (<i>to <span class="sc">Rochebaron</span></i>).</p> + +<div class="dialog"> +<span class="i0">I hope our packs of cards are still complete.</span> + +<p class="staging">[<i>Indicating the four Servants in livery.</i></p> + +<span class="i0">It looks as though these knaves were stolen thence.</span> +</div> + +<p class="speaker">TOWN-CRIER (<i>in a nasal tone of voice</i>).</p> + +<div class="dialog"> +<span class="i0">Peace, citizens!</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>low to <span class="sc">Gassé</span></i>).</p> + +<div class="dialog"> +<span class="m3">He has a wicked look.</span><br /> +<span class="i0">His voice wears out his nose more than his mouth!</span> +</div> + +<p class="speaker">TOWN-CRIER.</p> + +<div class="dialog"> +<span class="i0">"Ordinance: Louis, by the Grace of God—"</span> +</div> + +<p class="speaker">BOUCHAVANNES (<i>low to <span class="sc">Brichanteau</span></i>).</p> + +<div class="dialog"> +<span class="i0">Cloak <i>fleur-de-lis</i> concealing Richelieu!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Attention!</span> +</div> + +<p class="speaker">TOWN-CRIER (<i>continuing</i>).</p> + +<div class="dialog"> +<span class="m2">"King of France and of Navarre—"</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>low to <span class="sc">Bouchavannes</span></i>).</p> + +<div class="dialog"> +<span class="i0">A fine name, which no minister e'er hoards.</span> +</div> + +<p class="speaker">TOWN-CRIER (<i>continuing</i>).</p> + +<div class="dialog"> +<span class="i0">"Know all men by these presents, we greet you!</span> + +<p class="staging">[<i>He salutes assembly.</i></p> + +<span class="i0">Having considered that all kings desired</span><br /> +<span class="i0">And have tried to abolish dueling,</span><br /> +<span class="i0">But yet, in spite of edicts signed by them,</span><br /> +<span class="i0">The evil has increased in great degree,</span><br /> +<span class="i0">We ordain and decree that from this time</span><br /> +<span class="i0">All duelists who rob us of our subjects,</span><br /> +<span class="i0">Whether but one of them or both survive,</span><br /> +<span class="i0">Be brought for punishment unto our court,</span><br /> +<span class="i0">And commoner or noble shall be hanged.</span><br /> +<span class="i0">In order to give force to this edict</span><br /> +<span class="i0">We here renounce our right of pardon for</span><br /> +<span class="i0">This crime. It is our gracious pleasure."—</span><br /> +<span class="i0">Signed, <span class="sc">Louis</span>; and lower—<span class="sc">Richelieu</span>.</span> +</div> + +<p class="staging">[<i>Indignation among the nobles.</i></p> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m5">What's this?</span><br /> +<span class="i0">We are to hang up like Barabbas!</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="m5">We?</span><br /> +<span class="i0">Tell me the name of any place which holds</span><br /> +<span class="i0">A rope by which to hang a nobleman!</span> +</div> + +<p class="speaker">TOWN-CRIER (<i>continuing</i>).</p> + +<div class="dialog"> +<span class="i0">"We, provost, that all men may know these facts,</span><br /> +<span class="i0">Command this edict to be hung up on</span><br /> +<span class="i0">The Square."</span> +</div> + +<p class="staging">[<i>The two Servants attach a great placard to an iron gallows protruding +from the wall on the right.</i></p> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m2">'Tis the edict they ought to hang!</span><br /> +<span class="i0">Well done!</span> +</div> + +<p class="speaker">BOUCHAVANNES (<i>shaking his head</i>).</p> + +<div class="dialog"> +<span class="m2">Yes, Count; while waiting for the head</span><br /> +<span class="i0">Which shall defy it.</span> +</div> + +<p class="staging">[<i><span class="sc">The Town-Crier</span> exits; the crowd retires. <span class="sc">Saverny</span> enters. It begins +to grow dark.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene"><i>The same.</i> <span class="sc">Marquis de Saverny</span></p> + +<p class="speaker">BRICHANTEAU (<i>going to <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="m4">Cousin Saverny,</span><br /> +<span class="i0">I hope you've found the man who rescued you.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">No; I have searched the city through in vain.</span><br /> +<span class="i0">The robbers, the young man, and Marion—</span><br /> +<span class="i0">They have all faded from me like a dream.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">You must have seen him when he brought you back,</span><br /> +<span class="i0">Like a good Christian, from those infidels.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">The first thing that he did was to throw down</span><br /> +<span class="i0">The lamp.</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m2">That's strange!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m3">You'd recognize him if</span><br /> +<span class="i0">You met him?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m2">No; I didn't see his face.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">What is his name?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">Didier.</span> +</div> + +<p class="speaker">ROCHEBARON.</p> + +<div class="dialog"> +<span class="m4">That's no man's name!</span><br /> +<span class="i0">That is a bourgeois name.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">It doesn't matter.</span><br /> +<span class="i0">Didier is this man's name. There are great men</span><br /> +<span class="i0">Who have been conquerors and bear grand names,</span><br /> +<span class="i0">But they've no greater hearts than this man had.</span><br /> +<span class="i0">I had six robbers! He had Marion!</span><br /> +<span class="i0">He left her, and saved me. My debt's immense!</span><br /> +<span class="i0">This debt I mean to pay. I tell you all:</span><br /> +<span class="i0">I'll pay it with the last drop of my blood!</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="i0">Since when do you pay debts?</span> +</div> + +<p class="speaker">SAVERNY (<i>proudly</i>).</p> + +<div class="dialog"> +<span class="m4">I've always paid</span><br /> +<span class="i0">Those debts which can be paid with blood.</span><br /> +<span class="i0">Blood is the only change I carry, sir!</span> +</div> + +<p class="staging">[<i>It is quite dark; the windows in the city are lighted one by one; a +lamplighter enters and lights a street-lamp above the edict and goes +out. The little door through which <span class="sc">Marion</span> and <span class="sc">Didier</span> disappeared is +re-opened. <span class="sc">Didier</span> comes forth dreamily, walking slowly, his arms +folded.</i></p> + + +<h4>SCENE III</h4> + +<p class="scene"><i>The same.</i> <span class="sc">Didier</span></p> + +<p class="speaker">DIDIER (<i>coming slowly from the back; no one sees or hears him</i>).</p> + +<div class="dialog"> +<span class="i0">Marquis de Saverny! I would like much</span><br /> +<span class="i0">To see that fool who looked at her so hard.</span><br /> +<span class="i0">I have him on my mind.</span> +</div> + +<p class="speaker">BOUCHAVANNES (<i>to <span class="sc">Saverny</span>, who is talking with Brichanteau</i>).</p> + +<div class="dialog"> +<span class="m4">Saverny!</span> +</div> + +<p class="speaker">DIDIER (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i5">Ah,</span><br /> +<span class="i0">That is my man!</span> +</div> + +<p class="staging">[<i>He advances slowly, his eyes fixed on the noblemen, and sits down at a +table placed under the street-lamp, which lights up the edict. +<span class="sc">L'Angely</span>, motionless and silent, is a few steps distant.</i></p> + +<p class="speaker">BOUCHAVANNES (<i>to <span class="sc">Saverny</span>, who turns around</i>).</p> + +<div class="dialog"> +<span class="m3">You know about the edict?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Which one?</span> +</div> + +<p class="speaker">BOUCHAVANNES.</p> + +<div class="dialog"> +<span class="m2">Commanding us to give up duels.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">It is most wise.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m3">Hanging's the penalty.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">You must be jesting. Commoners are hanged,</span><br /> +<span class="i0">Not nobles.</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>showing the placard</i>).</p> + +<div class="dialog"> +<span class="m2">Read it for yourself. It's there,</span><br /> +<span class="i0">Upon the wall.</span> +</div> + +<p class="speaker">SAVERNY (<i>perceiving <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="m3">That sallow face can read</span><br /> +<span class="i0">For me.</span> + +<p class="staging">[<i>To <span class="sc">Didier</span>, elevating his voice.</i></p> + +<span class="m2">Ho! man there with the cloak! My friend!</span><br /> +<span class="i0">Good fellow!</span><br /> +<span class="i0">[<i>To <span class="sc">Brichanteau</span>.</i>] Brichanteau, he must be deaf.</span> +</div> + +<p class="speaker">DIDIER (<i>slowly lifting his head, without taking his eyes from him</i>).</p> + +<div class="dialog"> +<span class="i0">You spoke to me?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">I did! In fair return,</span><br /> +<span class="i0">Read that placard which hangs above your head.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">I?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m2">You—if you can spell the alphabet.</span> +</div> + +<p class="speaker">DIDIER (<i>rising</i>).</p> + +<div class="dialog"> +<span class="i0">It is the edict threatening duelists</span><br /> +<span class="i0">With gallows, be they nobles or plebeians.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">No, you mistake, my friend. You ought to know</span><br /> +<span class="i0">A nobleman was never born to hang,</span><br /> +<span class="i0">And in this world, where we claim all our rights,</span><br /> +<span class="i0">Plebeians are the gallows' only prey.</span> + +<p class="staging">[<i>To the noblemen.</i></p> + +<span class="i0">These commoners are rude.</span><br /> +<span class="i0">[<i>To <span class="sc">Didier</span>, with malice.</i>] You don't read well;</span><br /> +<span class="i0">Perhaps you are near-sighted. Lift your hat,</span><br /> +<span class="i0">'Twill give you more light. Take it off.</span> +</div> + +<p class="speaker">DIDIER (<i>overthrowing the table which is in front of him</i>).</p> + +<div class="dialog"> +<span class="m5">Beware!</span><br /> +<span class="i0">You have insulted me! I've read for you;</span><br /> +<span class="i0">I claim my recompense! I'll have it, too!</span><br /> +<span class="i0">I want your blood, I want your head, Marquis!</span> +</div> + +<p class="speaker">SAVERNY (<i>smiling</i>).</p> + +<div class="dialog"> +<span class="i0">We must be fitted to our station, sir.</span><br /> +<span class="i0">I judge him commoner, he scents marquis</span><br /> +<span class="i0">In me.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">Marquis and commoner can fight.</span><br /> +<span class="i0">What do you say to mixing up our blood?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">You go too fast, and fighting is not all.</span><br /> +<span class="i0">I am Gaspard, Marquis de Saverny.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">What does that matter?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">Here my seconds are!</span><br /> +<span class="i0">The Count de Gassé, noble family,</span><br /> +<span class="i0">And Count de Villac, family La Teuillade,</span><br /> +<span class="i0">From which house comes the Marquis d'Aubusson.</span><br /> +<span class="i0">Are you of noble blood?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">What matters that?</span><br /> +<span class="i0">I am a foundling left at a church door.</span><br /> +<span class="i0">I have no name; but in its place, I've blood,</span><br /> +<span class="i0">To give you in exchange for yours!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">That, sir,</span><br /> +<span class="i0">Is not enough; but as a foundling, you</span><br /> +<span class="i0">May claim the right, because you might be noble.</span><br /> +<span class="i0">It is a better thing to lift a vassal</span><br /> +<span class="i0">Than to degrade a peer. You may command me!</span><br /> +<span class="i0">Choose your hour, sir.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Immediately!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">Agreed!</span><br /> +<span class="i0">You're no usurper, that is clear.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">A sword!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">You have no sword? The devil! that is bad.</span><br /> +<span class="i0">You might be thought a man of low descent.</span><br /> +<span class="i0">Will you have mine?</span> + +<p class="staging">[<i>Offers his sword to <span class="sc">Didier</span>.</i></p> + +<span class="m3">Well tempered and obedient!</span> +</div> + +<p class="staging">[<i><span class="sc">L'Angely</span> rises, draws his sword and presents it to <span class="sc">Didier</span>.</i></p> + +<p class="speaker">L'ANGLEY.</p> + +<div class="dialog"> +<span class="i0">No; for a foolish deed, you'd better take</span><br /> +<span class="i0">A fool's sword! You are brave! You'll honor it!</span><br /> +<span class="i0">[<i>Maliciously.</i>] And in return, to bring me luck, pray let</span><br /> +<span class="i0">Me cut a piece from off the hanging-rope!</span> +</div> + +<p class="speaker">DIDIER (<i>bitterly, taking sword</i>).</p> + +<div class="dialog"> +<span class="i0">I will.</span> + +<p class="staging">[<i>To <span class="sc">The Marquis</span>.</i></p> + +<span class="i0">Now God have mercy on the good!</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>jumping with delight</i>).</p> + +<div class="dialog"> +<span class="i0">A duel—excellent!</span> +</div> + +<p class="speaker">SAVERNY (<i>to <span class="sc">Didier</span>).</i></p> + +<div class="dialog"> +<span class="m3">Where shall we fight?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Beneath the street-lamp.</span> +</div> + +<p class="speaker">GASSÉ.</p> + +<div class="dialog"> +<span class="m4">Gentlemen, you're mad!</span><br /> +<span class="i0">You cannot see. You'll put your eyes out.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Humph!</span><br /> +<span class="i0">There's light enough to cut each other's throat.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Well said!</span> +</div> + +<p class="speaker">VILLAC.</p> + +<div class="dialog"> +<span class="m2">You can see nothing.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">That's enough!</span><br /> +<span class="i0">Each sword is lightning flashing in the dark.</span><br /> +<span class="i0">Come, Marquis!</span> +</div> + +<p class="staging">[<i>Both throw off their cloaks, take off their hats with which they +salute each other, throwing them afterward on the ground. Then they draw +their swords.</i></p> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">At your service, sir.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Now! <i>Garde!</i></span> +</div> + +<p class="staging">[<i>They cross swords and fence, silently and furiously. Suddenly the +small door opens, <span class="sc">Marion</span> in a white dress appears.</i></p> + + +<h4>SCENE IV</h4> + +<p class="scene"><i>The same.</i> <span class="sc">Marion</span></p> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">What is this noise?</span> + +<p class="staging">[<i>Perceiving <span class="sc">Didier</span> under the lamp.</i></p> + +<span class="m3">Didier!</span><br /> +<span class="i0">[<i>To the combatants.</i>] Stop!</span><br /> +<span class="m2">[<i>They continue.</i>] Ho! The guard!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Who is this woman?</span> +</div> + +<p class="speaker">DIDIER (<i>turning</i>).</p> + +<div class="dialog"> +<span class="m3">Heaven!</span> +</div> + +<p class="speaker">BOUCHAVANNES (<i>running, to <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="m4">All is lost!</span><br /> +<span class="i0">That woman's cry went through the town.</span><br /> +<span class="i0">I saw the archers' rapiers flash.</span> +</div> + +<p class="staging">[<i>The Archers with torches enter.</i></p> + +<p class="speaker">BRICHANTEAU (<i>to <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="m5">Seem dead,</span><br /> +<span class="i0">Or you will be so!</span> +</div> + +<p class="speaker">SAVERNY (<i>falling down</i>).</p> + +<div class="dialog"> +<span class="m3">Ah!</span> + +<p class="staging">[<i>Low to <span class="sc">Brichanteau</span>, who bends over him.</i></p> + +<span class="m4">Oh, damn these stones.</span> +</div> + +<p class="staging">[<i><span class="sc">Didier</span>, who thinks he has killed him, pauses.</i></p> + +<p class="speaker">CAPTAIN OF THE DISTRICT.</p> + +<div class="dialog"> +<span class="i0">Hold! In the King's name!</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>to the noblemen</i>).</p> + +<div class="dialog"> +<span class="m3">We must save the Marquis.</span><br /> +<span class="i0">He's a dead man if he is caught.</span> +</div> + +<p class="staging">[<i>The noblemen surround <span class="sc">Saverny</span>.</i></p> + +<p class="speaker">CAPTAIN OF THE DISTRICT.</p> + +<div class="dialog"> +<span class="m5">Zounds, sirs!</span><br /> +<span class="i0">To fight a duel 'neath the very light</span><br /> +<span class="i0">Of the edict is bold indeed!</span><br /> +<span class="m3">[<i>To <span class="sc">Didier</span>.</i>] Give up</span><br /> +<span class="i0">Your sword.</span> + +<p class="staging">[<i>The Archers seize <span class="sc">Didier</span>, who stands apart, and disarm him. <span class="sc">The +Captain</span> indicates <span class="sc">Saverny</span> stretched upon the ground and surrounded by +the noblemen.</i></p> + +<span class="m2">That other man with dull eyes, who</span><br /> +<span class="i0">Is he? What is his name?</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m4">His name's Gaspard,</span><br /> +<span class="i0">Marquis de Saverny, and he is dead.</span> +</div> + +<p class="speaker">CAPTAIN OF THE DISTRICT.</p> + +<div class="dialog"> +<span class="i0">Dead, is he? Then his trouble's over. Good!</span><br /> +<span class="i0">This dead man's worth more than the other.</span> +</div> + +<p class="speaker">MARION (<i>frightened</i>).</p> + +<div class="dialog"> +<span class="m5">What!</span> +</div> + +<p class="speaker">CAPTAIN OF THE DISTRICT (<i>to <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="i0">The whole affair rests now with you, sir. Come!</span> +</div> + +<p class="staging">[<i>The Archers lead <span class="sc">Didier</span> off on one side, the noblemen carry +<span class="sc">Saverny</span> off on the other.</i></p> + +<p class="speaker">DIDIER (<i>to <span class="sc">Marion</span>, who is motionless from horror</i>).</p> + +<div class="dialog"> +<span class="i0">Forget me, Marion. Good-by! [<i>They exit.</i></span> +</div> + + +<h4>SCENE V</h4> + +<p class="scene sc">Marion, L'Angely</p> + +<p class="speaker">MARION (<i>rushing to detain him</i>).</p> + +<div class="dialog"> +<span class="m5">Didier!</span><br /> +<span class="i0">What do you mean? Good-by? Why this good-by?</span><br /> +<span class="i0">Wherefore forget you?</span> + +<p class="staging">[<i>The Soldiers push her off; she approaches <span class="sc">L'Angely</span> with anguish.</i></p> + +<span class="m4">Is he lost for this?</span><br /> +<span class="i0">What did he do? What will they do to him?</span> +</div> + +<p class="speaker">L'ANGELY (<i>takes her hand and leads her in silence before the edict</i>).</p> + +<div class="dialog"> +<span class="i0">Read this!</span> +</div> + +<p class="speaker">MARION (<i>reads, and starts back with horror</i>).</p> + +<div class="dialog"> +<span class="m2">My God! Just God! Condemned to death!</span><br /> +<span class="i0">They've taken him away. To kill him! Oh,</span><br /> +<span class="i0">I brought this ruin on him with my cries!</span><br /> +<span class="i0">I called for help, but my unhappy voice</span><br /> +<span class="i0">Found death in the dark streets and brought her here.</span><br /> +<span class="i0">Impossible! A duel is no crime!</span> + +<p class="staging">[<i>To <span class="sc">L'Angely</span>.</i></p> + +<span class="i0">They'll not kill him for that?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m4">I think they will.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">He can escape!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m3">The prison walls are high!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">I've brought this crime upon him with my sins.</span><br /> +<span class="i0">God strikes him for my sake! My Didier! love!</span><br /> +<span class="i0">[<i>To <span class="sc">L'Angely</span>.</i>] Nothing on earth seemed good enough for him!</span><br /> +<span class="i0">A prison cell—my God! Death! Torture too!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Perhaps! It all depends—</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">I'll find the King!</span><br /> +<span class="i0">He has a royal heart; he pardons.</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m5">Yes,</span><br /> +<span class="i0">The King does, not the Cardinal.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">Then, what—</span><br /> +<span class="i0">What can I do?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m3">A capital offense,</span><br /> +<span class="i0">Nothing can save him from the fatal rope.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Oh, grief!</span><br /> +<span class="i0">[<i>To <span class="sc">L'Angely</span>.</i>] You freeze my blood, sir. Who are you?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">I'm the King's jester!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">Oh, my Didier, love,</span><br /> +<span class="i0">I'm lost, unworthy; but what God can do</span><br /> +<span class="i0">With a weak woman's hands, I'll show to you.</span><br /> +<span class="i0">Go on, my love; I follow!</span> +</div> + +<p class="staging">[<i>She goes out on the side from which <span class="sc">Didier</span> left.</i></p> + +<p class="speaker">L'ANGELY (<i>alone</i>).</p> + +<div class="dialog"> +<span class="m4">God knows where!</span><br /> + +<p class="staging">[<i>Picking up the sword which <span class="sc">Didier</span> left on the ground.</i></p> + +<span class="i0">Among all these, who'd think I was the fool?</span> + +<p class="staging">[<i>He goes out.</i></p> +</div> + + + +<h3>ACT III</h3> + +<p class="center">THE COMEDY</p> + +<p><span class="sc">Scene.</span>—<i>The Castle of Nangis. A park in the style of Henry IV. In the +background on an elevation, the Castle of Nangis, part new, part old, is +visible. The old, a castle-keep with arches and turrets: the new, a +large brick house with corners of wrought stone, and pointed roof. The +large door of the castle-keep is hung with black: from afar one +distinguishes a coat-of-arms—that of the families of Nangis and of +Saverny</i></p> + + +<h4>SCENE I</h4> + +<p class="scene"><i><span class="sc">M. DE LAFFEMAS</span>, undress costume of a magistrate of the period. +<span class="sc">Marquis de Saverny</span>, disguised as an officer of the Regiment of Anjou; +with black mustache and imperial, and a plaster on the eye</i></p> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">Then you were present, sir, at the attack?</span> +</div> + +<p class="speaker">SAVERNY (<i>pulling his mustache</i>).</p> + +<div class="dialog"> +<span class="i0">I was his comrade: had that honor, sir!</span><br /> +<span class="i0">But he is dead!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m3">The Marquis de Saverny?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Yes, from a thrust in tierce, which burst the doublet,</span><br /> +<span class="i0">Then carved its cruel way between the ribs</span><br /> +<span class="i0">Through to the chest and to the liver, which,</span><br /> +<span class="i0">As you well know, makes blood. The wound was fearful.</span><br /> +<span class="i0">'Twas horrible to see!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m4">He died at once?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Almost. His agony was short. I watched</span><br /> +<span class="i0">The spasm follow frenzy; tetanos</span><br /> +<span class="i0">Then came, and after opisthotonos</span><br /> +<span class="i0">There followed improstathonos.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m5">The deuce!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">So that I calculate 'tis false to say</span><br /> +<span class="i0">The blood passes the jugular. Pequet</span><br /> +<span class="i0">And learned men should be condemned when they</span><br /> +<span class="i0">Dissect live dogs to study 'bout the lungs.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">The poor marquis is dead.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">A thrust is fatal.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">You are a doctor, sir, of medicine?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">No.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">You have studied it?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">Somewhat.</span><br /> +<span class="i0">In Aristotle.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m3">You can talk it well!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Faith! I've a most malicious sort of heart.</span><br /> +<span class="i0">I like destruction; find delight in evil;</span><br /> +<span class="i0">I love to kill! So that I thought I'd be</span><br /> +<span class="i0">A soldier or a doctor, sir, at twenty.</span><br /> +<span class="i0">But I hesitated long, and finally</span><br /> +<span class="i0">I chose the sword. It's not so sure, but twice</span><br /> +<span class="i0">As quick. There was a time, I will confess,</span><br /> +<span class="i0">I longed to be a poet or an actor,</span><br /> +<span class="i0">Or an exhibitor of bears—but then,</span><br /> +<span class="i0">I like dinner and supper every day.</span><br /> +<span class="i0">A plague upon the poetry and bears!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">With this hope in your mind you studied verse?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">A little bit, in Aristotle. Yes—</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">The Marquis knew you?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">He knew me as well</span><br /> +<span class="i0">As a lieutenant knows an upstart soldier.</span><br /> +<span class="i0">I belonged to Monsieur de Caussade first,</span><br /> +<span class="i0">Who gave me to the Marquis' colonel. Poor</span><br /> +<span class="i0">The present, but we do the best we can!</span><br /> +<span class="i0">They made me officer—I'm worth as much</span><br /> +<span class="i0">As any, and I wear a black mustache.</span><br /> +<span class="i0">That is my history.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m4">They sent you here</span><br /> +<span class="i0">To notify the uncle?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">Yes; I came</span><br /> +<span class="i0">With Brichanteau, the cousin, and the corpse.</span><br /> +<span class="i0">He will be buried here—where, if he'd lived,</span><br /> +<span class="i0">He would have had his wedding!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m4">Tell me how</span><br /> +<span class="i0">The old Marquis de Nangis bore the news.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">With calmness, without tears.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m4">He loved him though?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">As much as we love life. Having no children</span><br /> +<span class="i0">Of his own he had but this one passion—</span><br /> +<span class="i0">His nephew, whom he dearly loved, although</span><br /> +<span class="i0">They had not seen each other for five years.</span> +</div> + +<p class="staging">[<i>In the background, the old <span class="sc">Marquis de Nangis</span> passes; white hair, +pale countenance, arms folded across his breast, dress of the day of +Henry IV.: deep mourning; the star and the ribbon of the order of the +Holy Ghost. He walks slowly; nine guards in three rows follow; they are +dressed in mourning, their halberds on their right shoulder, their +muskets on their left; they keep within a short distance, stopping when +he stops, and continuing when he continues.</i></p> + +<p class="speaker">LAFFEMAS (<i>watching him pass</i>).</p> + +<div class="dialog"> +<span class="i0">Poor man!</span> +</div> + +<p class="staging">[<i>He goes to the back and follows <span class="sc">The Marquis</span> with his eyes.</i></p> + +<p class="speaker">SAVERNY (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m2">My good old uncle!</span> +</div> + +<p class="staging">[<i><span class="sc">Brichanteau</span> enters and goes to <span class="sc">Saverny</span>.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene"><i>The same.</i> <span class="sc">Brichanteau</span></p> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m4">Ah! two words!</span><br /> +<span class="i0">[<i>Laughing.</i>] He's looking pretty well for a dead man!</span> +</div> + +<p class="speaker">SAVERNY (<i>low, indicating <span class="sc">The Marquis</span>, who passes</i>).</p> + +<div class="dialog"> +<span class="i0">Why do you make me grieve him, Brichanteau?</span><br /> +<span class="i0">I think we might explain it to him now.</span><br /> +<span class="i0">Oh, let me try.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m3">No; God forbid, my friend!</span><br /> +<span class="i0">His grief must be sincere; he must weep much.</span><br /> +<span class="i0">His woe is one good half of your disguise.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Poor uncle!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m2">He will find it out ere long.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">If sorrow has not killed him, then joy will.</span><br /> +<span class="i0">These shocks are dangerous to such old men.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">It must be done!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">I cannot bear to hear</span><br /> +<span class="i0">Him laugh so bitterly, then weep; then keep</span><br /> +<span class="i0">So still! I hate to see him kiss that coffin.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">Yes—a fine coffin with no corpse in it!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">But I am dead and bleeding in his heart.</span><br /> +<span class="i0">The corpse lies there.</span> +</div> + +<p class="speaker">LAFFEMAS (<i>coming back</i>).</p> + +<div class="dialog"> +<span class="m3">Alas, the poor old man!</span><br /> +<span class="i0">His eyes show plainly how he's suffering!</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>low to <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="i0">Who is that surly-looking man in black?</span> +</div> + +<p class="speaker">SAVERNY (<i>with gesture of ignorance</i>).</p> + +<div class="dialog"> +<span class="i0">Some friend who's living at the castle?</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>low</i>).</p> + +<div class="dialog"> +<span class="m5">Crows</span><br /> +<span class="i0">Are also black and love the smell of death.</span><br /> +<span class="i0">Keep silence more than ever. 'Tis a face</span><br /> +<span class="i0">That's treacherous and evil; it would make</span><br /> +<span class="i0">A madman prudent.</span> +</div> + +<p class="staging">[<i><span class="sc">The Marquis de Nangis</span> re-enters; he is still absorbed in a deep +reverie. He walks slowly, does not appear to notice any one, and seats +himself upon a bank of turf.</i></p> + + +<h4>SCENE III</h4> + +<p class="scene"><i>The same.</i> <span class="sc">Marquis de Nangis</span></p> + +<p class="speaker">LAFFEMAS (<i>approaching <span class="sc">The Marquis</span></i>).</p> + +<div class="dialog"> +<span class="m3">Marquis, we've lost much.</span><br /> +<span class="i0">He was a rare man; would have comforted</span><br /> +<span class="i0">Your old age. I mingle my tears with yours.</span><br /> +<span class="i0">Young, handsome, good, naught more could be desired;</span><br /> +<span class="i0">Obeying God, respecting women, strong;</span><br /> +<span class="i0">Just in his actions, sensible in speech,</span><br /> +<span class="i0">A perfect nobleman, whom all revere!</span><br /> +<span class="i0">To die so young! Most cruel fate! Alas!</span> +</div> + +<p class="staging">[<i><span class="sc">The Marquis</span> lets his head fall on his hands.</i></p> + +<p class="speaker">SAVERNY (<i>low to <span class="sc">Brichanteau</span></i>).</p> + +<div class="dialog"> +<span class="i0">The devil take this funeral discourse!</span><br /> +<span class="i0">These praises but augment the old man's grief.</span><br /> +<span class="i0">Console him, you; Show him the other side.</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>to <span class="sc">Laffemas</span></i>).</p> + +<div class="dialog"> +<span class="i0">You are mistaken, sir. I was in the</span><br /> +<span class="i0">Same grade. A bad comrade, this Saverny—</span><br /> +<span class="i0">A shiftless fellow, growing worse each day.</span><br /> +<span class="i0">Courageous! Every man is brave at twenty;</span><br /> +<span class="i0">His death is nothing much to boast about.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">A duel! Surely, that is no great crime.</span> + +<p class="staging">[<i>Banteringly to <span class="sc">Brichanteau</span>, pointing to his sword.</i></p> + +<span class="i0">You are an officer?</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>in the same tone, pointing to <span class="sc">Laffemas's</span> wig</i>).</p> + +<div class="dialog"> +<span class="m4">A magistrate?</span> +</div> + +<p class="speaker">SAVERNY (<i>low</i>).</p> + +<div class="dialog"> +<span class="i0">Go on!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m2">He was capricious, thankless, and</span><br /> +<span class="i0">A liar: not worth any real regret.</span><br /> +<span class="i0">He went to church, but just to ogle girls.</span><br /> +<span class="i0">He was a gallant, a mere libertine,</span><br /> +<span class="i0">A fool!</span> +</div> + +<p class="speaker">SAVERNY (<i>low</i>).</p> + +<div class="dialog"> +<span class="m2">Good! good!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m3">Intractable and stubborn;</span><br /> +<span class="i0">Rude to his officers. As to good looks,</span><br /> +<span class="i0">He had lost his; he limped, had a large wen</span><br /> +<span class="i0">Upon his eye; from blonde had turned to red,</span><br /> +<span class="i0">And from round-shouldered had become hump-backed.</span> +</div> + +<p class="speaker">SAVERNY (<i>low</i>).</p> + +<div class="dialog"> +<span class="i0">Enough!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m2">He gambled—every one knows that.</span><br /> +<span class="i0">He would have staked his soul on dice. I'll wager</span><br /> +<span class="i0">That cards had eaten up his property.</span><br /> +<span class="i0">His fortune galloped faster every night.</span> +</div> + +<p class="speaker">SAVERNY (<i>low, pulling his sleeve</i>).</p> + +<div class="dialog"> +<span class="i0">Enough! Good God! Your consolation is</span><br /> +<span class="i0">Too strong.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">To speak so ill of a dead friend!</span><br /> +<span class="i0">Unpardonable!</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>indicating <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="m3">Ask this gentleman!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Oh, no; I beg to be excused!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>affectionately, to the old <span class="sc">Marquis</span></i>).</p> + +<div class="dialog"> +<span class="m5">My lord,</span><br /> +<span class="i0">We'll comfort you. We have his murderer,</span><br /> +<span class="i0">And we will hang him. We have kept him safe.</span><br /> +<span class="i0">His end is sure.</span> + +<p class="staging">[<i>To <span class="sc">Brichanteau</span> and <span class="sc">Saverny</span>.</i></p> + +<span class="m3">But can one understand</span><br /> +<span class="i0">The Marquis? There are duels, we all know,</span><br /> +<span class="i0">That cannot be avoided, but to fight</span><br /> +<span class="i0">With any one named Didier—</span> +</div> + +<p class="speaker">SAVERNY (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m4">What? Didier?</span> +</div> + +<p class="staging">[<i>The old <span class="sc">Marquis</span>, who has remained silent and motionless during all +this scene, rises and goes out slowly on the side opposite where he came +in. His guards follow him.</i></p> + +<p class="speaker">LAFFEMAS (<i>wiping away a tear and following him with his eyes</i>).</p> + +<div class="dialog"> +<span class="i0">In truth, his sorrow deeply touches me.</span> +</div> + +<p class="speaker">LACKEY (<i>running</i>).</p> + +<div class="dialog"> +<span class="i0">My lord!</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m2">Why can't you leave your master quiet?</span> +</div> + +<p class="speaker">LACKEY.</p> + +<div class="dialog"> +<span class="i0">It is the burial of the young marquis!</span><br /> +<span class="i0">What is the hour?</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="m3">You'll know it by-and-by.</span> +</div> + +<p class="speaker">LACKEY.</p> + +<div class="dialog"> +<span class="i0">A few comedians have arrived here from</span><br /> +<span class="i0">The city; they beg shelter for the night.</span> +</div> + +<p class="speaker">BRICHANTEAU.</p> + +<div class="dialog"> +<span class="i0">The time's ill-chosen for comedians, but</span><br /> +<span class="i0">The law of hospitality holds good.</span><br /> +<span class="i0">Give them this barn.</span> +</div> + +<p class="staging">[<i>Indicating a barn on the left.</i></p> + +<p class="speaker">LACKEY (<i>holding a letter</i>).</p> + +<div class="dialog"> +<span class="m3">A letter! 'Tis important!</span><br /> +<span class="i0">[<i>Reading.</i>] For a Monsieur de Laffemas.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m5">'Tis I!</span><br /> +<span class="i0">Give it to me!</span> +</div> + +<p class="speaker">BRICHANTEAU (<i>low to <span class="sc">Saverny</span>, who has remained thoughtful in a corner</i>).</p> + +<div class="dialog"> +<span class="m3">Saverny, let us go!</span><br /> +<span class="i0">Come and arrange things for your funeral!</span> + +<p class="staging">[<i>Pulling him by the sleeve.</i></p> + +<span class="i0">What is it? Are you dreaming?</span> +</div> + +<p class="speaker">SAVERNY (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m4">Oh, Didier!</span> +</div> + +<p class="staging">[<i>They go out.</i></p> + + +<h4>SCENE IV</h4> + + +<p class="speaker">LAFFEMAS (<i>alone</i>).</p> + +<div class="dialog"> +<span class="i0">The seal of State! The great seal of red wax!</span><br /> +<span class="i0">Come! this is business. Let me know at once!</span><br /> +<span class="i0">[<i>Reading.</i>] "Sir Criminal Lieutenant: We make known</span><br /> +<span class="i0">To you that Didier, the assassin of</span><br /> +<span class="i0">The late Marquis Gaspard, has fled." My God!</span><br /> +<span class="i0">That is unfortunate! "A woman is</span><br /> +<span class="i0">With him, called Marion de Lorme. We beg</span><br /> +<span class="i0">You to return as soon as possible."</span><br /> +<span class="i0">Quick! Get me horses! I, who felt so sure!</span><br /> +<span class="i0">Another matter spoiled for want of sense.</span><br /> +<span class="i0">Outrageous! Of the two, not one! One, dead!</span><br /> +<span class="i0">Escaped, the other! I will catch him, though!</span> +</div> + +<p class="staging">[<i>He exits. Enter a troupe of strolling actors, men, women and children +in character costumes. Among them are <span class="sc">Marion</span> and <span class="sc">Didier</span>, dressed as +Spaniards. <span class="sc">Didier</span> wears a great felt hat and is covered with a cloak.</i></p> + + +<h4>SCENE V</h4> + +<p class="scene"><i>The Comedians</i>, <span class="sc">Marion, Didier</span></p> + + +<p class="speaker">A LACKEY (<i>conducting the Comedians to the barn</i>).</p> + +<div class="dialog"> +<span class="i0">This is your lodging. You're on the estate</span><br /> +<span class="i0">Of the Marquis de Nangis. Behave well,</span><br /> +<span class="i0">Try to be quiet, for some one is dead.</span><br /> +<span class="i0">The burial is to-morrow. Above all,</span><br /> +<span class="i0">Don't mix your songs with the funereal chants</span><br /> +<span class="i0">Which will be sung for him throughout the night.</span> +</div> + +<p class="speaker">GRACIEUX (<i>small and hump-backed</i>).</p> + +<div class="dialog"> +<span class="i0">We'll make less noise than do your hunting-dogs</span><br /> +<span class="i0">Who bark around the legs of all who pass!</span> +</div> + +<p class="speaker">LACKEY.</p> + +<div class="dialog"> +<span class="i0">Dogs are not actors, my good friend.</span> +</div> + +<p class="speaker">TAILLEBRAS (<i>to <span class="sc">Gracieux</span></i>).</p> + +<div class="dialog"> +<span class="m5">Be still!</span><br /> +<span class="i0">You'll cause us to sleep in the open air!</span> +</div> + +<p class="staging">[<i><span class="sc">Lackey</span> exits.</i></p> + +<p class="speaker">SCARAMOUCHE (<i>to <span class="sc">Marion</span> and <span class="sc">Didier</span>, who until now have remained quietly apart</i>).</p> + +<div class="dialog"> +<span class="i0">Come! let us talk. Now you belong to us.</span><br /> +<span class="i0">Why Monsieur fled with Madame on behind,</span><br /> +<span class="i0">If you are man and wife or lovers only,</span><br /> +<span class="i0">Escaping justice, or black sorcerers</span><br /> +<span class="i0">Who held Madame a prisoner, perhaps—</span><br /> +<span class="i0">Is not my business. What I want to know</span><br /> +<span class="i0">Is what you'll act. Chimènes are best for you,</span><br /> +<span class="i0">Black eyes.</span> +</div> + +<p class="staging">[<i><span class="sc">Marion</span> makes a courtesy.</i></p> + +<p class="speaker">DIDIER (<i>aside, indignant</i>).</p> + +<div class="dialog"> +<span class="m2">To hear that mountebank speak thus!</span> +</div> + +<p class="speaker">SCARAMOUCHE (<i>to <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="i0">For you: if you should want a splendid part,</span><br /> +<span class="i0">We need a bully—a long-leggèd man,</span><br /> +<span class="i0">Tremendous strides, a thundering voice; and when</span><br /> +<span class="i0">Orgon is robbed of wife or niece, you kill</span><br /> +<span class="i0">The Moor and terminate the piece. Great part!</span><br /> +<span class="i0">High tragedy! 'Twill suit you splendidly.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Just as you please!</span> +</div> + +<p class="speaker">SCARAMOUCHE.</p> + +<div class="dialog"> +<span class="m3">Good! Don't say "you" to me!</span><br /> +<span class="i0">I like "thou"! [<i>With a profound obeisance.</i></span><br /> +<span class="m3">Blusterer, hail!</span> +</div> + +<p class="speaker">DIDIER (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m4">What fools!</span> +</div> + +<p class="speaker">SCARAMOUCHE (<i>to the other actors</i>).</p> + +<div class="dialog"> +<span class="m5">Now eat;</span><br /> +<span class="i0">Then we'll rehearse our parts.</span> +</div> + +<p class="staging">[<i>All enter the barn except <span class="sc">Marion</span> and <span class="sc">Didier</span>.</i></p> + + +<h4>SCENE VI</h4> + +<p class="scene"><i><span class="sc">Marion</span>, <span class="sc">Didier</span>; afterward <span class="sc">Gracieux</span>, <span class="sc">Saverny</span>, +afterward <span class="sc">Laffemas</span></i></p> + +<p class="speaker">DIDIER (<i>with bitter laugh, after a long silence</i>).</p> + +<div class="dialog"> +<span class="m3">Is't bad enough?</span><br /> +<span class="i0">My Marion, have I dragged you low enough?</span><br /> +<span class="i0">You wished to follow me? My destiny</span><br /> +<span class="i0">Precipitates itself and crushes you,</span><br /> +<span class="i0">Bound to its wheel! What are we come to now?</span><br /> +<span class="i0">I told you so!</span> +</div> + +<p class="speaker">MARION (<i>trembling and clasping her hands</i>).</p> + +<div class="dialog"> +<span class="m3">Do you reproach me, love?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Oh, may I be accursed! Cursed first by Heaven,</span><br /> +<span class="i0">Then cursed 'mongst men: cursed throughout all my life;</span><br /> +<span class="i0">Cursed more than we are now, if a reproach</span><br /> +<span class="i0">Shall ever leave my lips for you! What matter</span><br /> +<span class="i0">Though all the earth abandon me, you're mine!</span><br /> +<span class="i0">You are my savior, refuge, all my hope!</span><br /> +<span class="i0">Who duped the jailer, filed my chains for me?</span><br /> +<span class="i0">Who came from heaven to follow me to hell?</span><br /> +<span class="i0">Who was a captive with the prisoner,</span><br /> +<span class="i0">An exile with the fugitive? Ah, who,</span><br /> +<span class="i0">Who else had heart so full of love and wit,</span><br /> +<span class="i0">Heart to sustain, console, deliver me?</span><br /> +<span class="i0">Great, feeble woman, have you not saved me</span><br /> +<span class="i0">From destiny, alas! and my own soul?</span><br /> +<span class="i0">Had you not pity on my nature, crushed?</span><br /> +<span class="i0">Have you not loved one whom all others hate?</span> +</div> + +<p class="speaker">MARION (<i>weeping</i>).</p> + +<div class="dialog"> +<span class="i0">It is my joy to love you—be your slave.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Leave me your eyes, dear; they enrapture me!</span><br /> +<span class="i0">God willed, when placing soul within my flesh,</span><br /> +<span class="i0">A demon and an angel should guide me.</span><br /> +<span class="i0">Yet he was merciful; his love concealed</span><br /> +<span class="i0">The demon, but the angel he revealed.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">You are my Didier, master, lord of me!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Your husband, am I not?</span> +</div> + +<p class="speaker">MARION (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m4">Alas!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">What joy,</span><br /> +<span class="i0">When we have left this country far behind,</span><br /> +<span class="i0">To have you, call you wife as well as love!</span><br /> +<span class="i0">You will be willing?—answer.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">I will be</span><br /> +<span class="i0">Your sister, and my brother you shall be!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Oh, no! Refuse me not that ecstasy</span><br /> +<span class="i0">Of knowing, in God's sight, you're mine alone!</span><br /> +<span class="i0">You're safe to trust my love in everything.</span><br /> +<span class="i0">The lover keeps you for the husband, pure!</span> +</div> + +<p class="speaker">MARION (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">Alas!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">If you knew how things torture me!</span><br /> +<span class="i0">To hear that actor talk, affront you thus!</span><br /> +<span class="i0">It is not least among our wretched woes</span><br /> +<span class="i0">To see you mixed with jugglers such as these,</span><br /> +<span class="i0">A chaste, exquisite flower 'mid this filth—</span><br /> +<span class="i0">You, 'mongst these women steeped in infamy!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Be prudent, Didier!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">God! I struggled hard</span><br /> +<span class="i0">Against my anger! He said "thou" to you,</span><br /> +<span class="i0">When I, your love, your husband, hardly dare</span><br /> +<span class="i0">For fear of tarnishing that virgin brow—</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Be pleasant with them; it means life to you,</span><br /> +<span class="i0">And me as well.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">She's right. She's always right.</span><br /> +<span class="i0">Although each hour brings us increasing woe,</span><br /> +<span class="i0">You lavish on me love and joy and youth!</span><br /> +<span class="i0">How happens it these blessings come to me,</span><br /> +<span class="i0">When royal kingdoms were small pay for them—</span><br /> +<span class="i0">To me, who give but anguish in return?</span><br /> +<span class="i0">Heaven gave you—yes; but hell binds you to me.</span><br /> +<span class="i0">For us to merit this unequal fate,</span><br /> +<span class="i0">What good can I have done? What evil you?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">My only blessings come from you, my love!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">If you say that you think it, but it's wrong!</span><br /> +<span class="i0">Oh, yes, my star of destiny is bad.</span><br /> +<span class="i0">I know not whence I come, nor where I go.</span><br /> +<span class="i0">My whole horizon's dark. Love, hark to me!</span><br /> +<span class="i0">There's time yet; you can leave me and go back.</span><br /> +<span class="i0">Let me pursue the gloomy route alone.</span><br /> +<span class="i0">When all is ended and I'm tired out,</span><br /> +<span class="i0">The couch that's waiting will be cold—ice-cold,</span><br /> +<span class="i0">And narrow; there's not room enough for two.</span><br /> +<span class="i0">Go back!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">That couch, dark, and mysterious,</span><br /> +<span class="i0">I'll share it with you; that at least is mine.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Will you not listen? Can't you understand?</span><br /> +<span class="i0">You're tempting Providence to cling to me!</span><br /> +<span class="i0">The years of anguish, love, may be so long</span><br /> +<span class="i0">Your sweet eyes may grow sightless, just from tears.</span> +</div> + +<p class="staging">[<i><span class="sc">Marion</span> lets her head fall on her hands.</i></p> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">I swear I draw the picture none too strong.</span><br /> +<span class="i0">Your future frightens me. I pity you!</span><br /> +<span class="i0">Go back!</span> +</div> + +<p class="speaker">MARION (<i>bursting into tears</i>).</p> + +<div class="dialog"> +<span class="m2">It were more kind to kill me, Didier,</span><br /> +<span class="i0">Than to talk thus! [<i>Weeping.</i>] O God!</span> +</div> + +<p class="speaker">DIDIER (<i>taking her in his arms</i>).</p> + +<div class="dialog"> +<span class="m4">My darling, hush!</span><br /> +<span class="i0">So many tears! I'd shed my blood for one.</span><br /> +<span class="i0">Do what you will! Come, be my destiny,</span><br /> +<span class="i0">My glory, life, my virtue, and my love!</span><br /> +<span class="i0">Answer me now. I speak! Sweet, do you hear?</span> +</div> + +<p class="staging">[<i>He seats her on a bank of turf.</i></p> + +<p class="speaker">MARION (<i>withdrawing herself from his arms</i>).</p> + +<div class="dialog"> +<span class="i0">You've hurt me!</span> +</div> + +<p class="speaker">DIDIER (<i>kneeling to her</i>).</p> + +<div class="dialog"> +<span class="m3">I, who'd gladly die for her!</span> +</div> + +<p class="speaker">MARION (<i>smiling through her tears</i>).</p> + +<div class="dialog"> +<span class="i0">You made me cry, you cruel man!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">My beauty!</span> + +<p class="staging">[<i>Sits on the bank beside her.</i></p> + +<span class="i0">Just one sweet kiss upon your forehead, pure</span><br /> +<span class="i0">As is our love!</span> + +<p class="staging">[<i>He kisses her forehead. They look at each other with ecstasy.</i></p> + +<span class="m3">Yes, look at me! Look thus,</span><br /> +<span class="i0">Look harder; look until we die of looking!</span> +</div> + +<p class="speaker">GRACIEUX (<i>entering</i>).</p> + +<div class="dialog"> +<span class="i0">Dona Chimène is wanted in the barn.</span> +</div> + +<p class="staging">[<i><span class="sc">Marion</span> rises hastily from <span class="sc">Didier's</span> side. At the same time that +<span class="sc">Gracieux</span> enters, <span class="sc">Saverny</span> comes in; he stands in the background and +looks attentively at <span class="sc">Marion</span> without seeing <span class="sc">Didier</span>, who remains +sitting on the bank and is hidden by a bush.</i></p> + +<p class="speaker">SAVERNY (<i>back, without being seen, aside</i>).</p> + +<div class="dialog"> +<span class="i0">Faith, it is Marion! What brings her here?</span><br /> +<span class="i0">[<i>Laughing.</i>] Chimène!</span> +</div> + +<p class="speaker">GRACIEUX (<i>to <span class="sc">Didier</span>, who is about to follow <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m2">Oh, no! stay there, my jealous friend,</span><br /> +<span class="i0">I want to tease you!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Devil take you!</span> +</div> + +<p class="speaker">MARION (<i>low to <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="m5">Hush!</span><br /> +<span class="i0">Restrain yourself.</span> +</div> + +<p class="staging">[<i><span class="sc">Didier</span> re-seats himself; she enters the barn.</i></p> + +<p class="speaker">SAVERNY (<i>still back, aside</i>).</p> + +<div class="dialog"> +<span class="i0">What makes her roam the country in this fashion?</span><br /> +<span class="i0">Can he be the gallant who succored me?</span><br /> +<span class="i0">Who saved my life? Didier! It is indeed!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>enters in traveling costume, and salutes <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="i0">I take my leave, sir!</span> +</div> + +<p class="speaker">SAVERNY (<i>bowing</i>).</p> + +<div class="dialog"> +<span class="m3">You are going away?</span> +</div> + +<p class="staging">[<i>He laughs.</i></p> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">What makes you laugh?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">A very silly thing.</span><br /> +<span class="i0">I'll tell you. Guess whom I have recognized</span><br /> +<span class="i0">Among those jugglers who have just arrived.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">Among those jugglers?</span> +</div> + +<p class="speaker">SAVERNY (<i>laughing still more</i>).</p> + +<div class="dialog"> +<span class="m3">Yes. Marion de Lorme!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>with a start</i>).</p> + +<div class="dialog"> +<span class="i0">Marion de Lorme!</span> +</div> + +<p class="speaker">DIDIER (<i>who has been looking at them fixedly all the time</i>).</p> + +<div class="dialog"> +<span class="m3">Hein? [<i>He half rises from the bank.</i></span> +</div> + +<p class="speaker">SAVERNY (<i>still laughing</i>).</p> + +<div class="dialog"> +<span class="m4">I would like to send</span><br /> +<span class="i0">That news to Paris. Are you going there?</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">I am, and I will spread the news, trust me!</span><br /> +<span class="i0">But are you sure you recognize her?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">Sure?</span><br /> +<span class="i0">Hurrah for France! We know our Marion.</span> + +<p class="staging">[<i>Feeling in his pocket.</i></p> + +<span class="i0">I think I have her portrait—tender pledge</span><br /> +<span class="i0">Of love! She had it done by the King's painter.</span><br /> + +<p class="staging">[<i>Giving <span class="sc">Laffemas</span> a locket.</i></p> + +<span class="i0">Look and compare them.</span> + +<p class="staging">[<i>Indicating the barn door.</i></p> + +<span class="m3">See her, through that door,</span><br /> +<span class="i0">In Spanish costume, with green petticoat.</span> +</div> + +<p class="speaker">LAFFEMAS (<i>looking from the locket to the barn</i>).</p> + +<div class="dialog"> +<span class="i0">'Tis she—Marion de Lorme! [<i>Aside.</i>] I have him now!</span> +</div> + +<p class="staging">[<i>To <span class="sc">Saverny</span>.</i>] She must have a companion 'mongst these men.</p> + + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">It's likely. Such fair ladies are not prudes,</span><br /> +<span class="i0">And seldom travel round the world alone.</span> +</div> + +<p class="speaker">LAFFEMAS (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">I'll guard this door. It will go hard, indeed,</span><br /> +<span class="i0">If I can't capture that false actor here.</span><br /> +<span class="i0">He's taken now—no doubt of that! [<i>Goes out.</i></span> +</div> + +<p class="speaker">SAVERNY (<i>watches the exit of <span class="sc">Laffemas</span>: aside</i>).</p> + +<div class="dialog"> +<span class="m5">I think</span><br /> +<span class="i0">I've done a foolish thing.</span> + +<p class="staging">[<i>Taking <span class="sc">Gracieux</span> aside, who all this time has stood in a corner +gesticulating and running over his lines: in a whisper.</i></p> + +<span class="m4">Who is that lady</span><br /> +<span class="i0">Sitting within the shadow there?</span> + +<p class="staging">[<i>Indicating the door of the barn.</i></p> +</div> + + +<p class="speaker">GRACIEUX.</p> + +<div class="dialog"> +<span class="m5">Chimène?</span><br /> +<span class="i0">[<i>Solemnly.</i>] My lord, I do not know her name. Ask him,</span><br /> +<span class="i0">This lord, her noble friend.</span> +</div> + +<p class="staging">[<i>Exits on the side of the park.</i></p> + + +<h4>SCENE VII</h4> + +<p class="scene sc">Didier, Saverny</p> + +<p class="speaker">SAVERNY (<i>turning toward <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="m4">This gentleman?</span><br /> +<span class="i0">Tell me— 'Tis strange how hard he looks at me!</span><br /> +<span class="i0">Upon my soul, 'tis he! My man! [<i>Loud to <span class="sc">Didier</span>.</i>] If you</span><br /> +<span class="i0">Were not in prison, I should say that you</span><br /> +<span class="i0">Resemble a—</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">And if you were not dead, I'd say</span><br /> +<span class="i0">That you had the exact appearance of—</span><br /> +<span class="i0">His blood be on his head!—a man whom two</span><br /> +<span class="i0">Short words of mine put in a tomb.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">Hush! You</span><br /> +<span class="i0">Are Didier!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">Marquis Gaspard, you!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">'Twas you</span><br /> +<span class="i0">Who were somewhere, a certain night! 'Tis you</span><br /> +<span class="i0">To whom I owe my life!</span> +</div> + +<p class="staging">[<i>He opens his arms. <span class="sc">Didier</span> draws back.</i></p> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Excuse surprise!</span><br /> +<span class="i0">I felt so sure I took it back.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">Not so!</span><br /> +<span class="i0">You saved me—did not kill me! Let me know</span><br /> +<span class="i0">What I can do for you. Do you desire</span><br /> +<span class="i0">A second—brother—a lieutenant? Speak!</span><br /> +<span class="i0">What will you have—my blood, my wealth, my soul?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Not any of those things. That portrait there!</span> + +<p class="staging">[<i><span class="sc">Saverny</span> gives him the portrait; he looks at it, speaking with +bitterness.</i></p> + +<span class="i0">Yes, there's her brow, her black eyes, her white neck;</span><br /> +<span class="i0">Above all, there's her candid glance! How like!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">You think so?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">This was made for you, you say?</span> +</div> + +<p class="speaker">SAVERNY (<i>bowing, and making an affirmative sign</i>).</p> + +<div class="dialog"> +<span class="i0">It was! But now 'tis you whom she prefers,</span><br /> +<span class="i0">You whom she loves and chooses 'mongst us all.</span><br /> +<span class="i0">You are a happy man.</span> +</div> + +<p class="speaker">DIDIER (<i>with loud and mocking laugh</i>).</p> + +<div class="dialog"> +<span class="m4">Yes! Am I not?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Accept my compliments; she's a good girl,</span><br /> +<span class="i0">And loves no one but men of family.</span><br /> +<span class="i0">Of such a mistress one can well be proud!</span><br /> +<span class="i0">It's honorable, and it gives one style.</span><br /> +<span class="i0">'Tis in good taste. If men ask who you are</span><br /> +<span class="i0">They say, "Beloved of Marion de Lorme."</span> + +<p class="staging">[<i><span class="sc">Didier</span> gives him back the portrait; he refuses it.</i></p> + +<span class="i0">No, keep the portrait; since the lady's yours,</span><br /> +<span class="i0">It should belong to you. Keep it, I pray.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">I thank you! [<i>Puts it in his breast.</i></span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m2">She is charming in that dress.</span><br /> +<span class="i0">So you are my successor! One might say,</span><br /> +<span class="i0">As King Louis succeeded Pharamond.</span><br /> +<span class="i0">The Brissacs, both of them, supplanted me.</span><br /> +<span class="i0">[<i>Laughing.</i>] Then, yes, the Cardinal himself came next,</span><br /> +<span class="i0">Then little D'Effiat, then the three Sainte-Mesmes,</span><br /> +<span class="i0">The four Argenteans! In her heart you'll find</span><br /> +<span class="i0">The best society. [<i>Laughing.</i>] A little numerous.</span> +</div> + +<p class="speaker">DIDIER (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">My God!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m2">Tell me about it some time. Now,</span><br /> +<span class="i0">To be quite frank with you, I pass for dead,</span><br /> +<span class="i0">And in the morning shall be buried. You</span><br /> +<span class="i0">Must have escaped police and seneschals.</span><br /> +<span class="i0">Your Marion can manage everything!</span><br /> +<span class="i0">You joined a strolling company by chance;</span><br /> +<span class="i0">What a delightful history!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Yes, true</span><br /> +<span class="i0">It is a history!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">To get you out</span><br /> +<span class="i0">She probably made love to all the jailers.</span> +</div> + +<p class="speaker">DIDIER (<i>in a voice of thunder</i>).</p> + +<div class="dialog"> +<span class="i0">Do you think that?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">You are not jealous—what?</span><br /> +<span class="i0">Oh, joke incredible!—of Marion!</span><br /> +<span class="i0">A man jealous of Marion! The poor child!</span><br /> +<span class="i0">Don't go and scold her!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Have no fear. [<i>Aside.</i>] The angel—</span><br /> +<span class="i0">It was a demon! Oh, my God!</span> +</div> + +<p class="staging">[<i>Enter <span class="sc">Laffemas</span> and <span class="sc">Gracieux</span>. <span class="sc">Didier</span> goes out; <span class="sc">Saverny</span> follows +him.</i></p> + + +<h4>SCENE VIII</h4> + +<p class="scene sc">Laffemas, Gracieux</p> + +<p class="speaker">GRACIEUX (<i>to <span class="sc">Laffemas</span></i>).</p> + +<div class="dialog"> +<span class="m5">My lord,</span><br /> +<span class="i0">I do not understand you!</span><br /> +<span class="m3">[<i>Aside.</i>] Humph! A costume</span><br /> +<span class="i0">Of Alcaid and a figure of police;</span><br /> +<span class="i0">Small eyes, adorned with big eyebrows! I think</span><br /> +<span class="i0">He plays the part of Alguazil in this</span><br /> +<span class="i0">Locality.</span> +</div> + +<p class="speaker">LAFFEMAS (<i>pulling out his purse</i>).</p> + +<div class="dialog"> +<span class="m2">My friend!</span> +</div> + +<p class="speaker">GRACIEUX (<i>drawing near, low to <span class="sc">Laffemas</span></i>).</p> + +<div class="dialog"> +<span class="m4">My lord—I see!</span><br /> +<span class="i0">Chimène has interested you. You wish</span><br /> +<span class="i0">To know—</span> +</div> + +<p class="speaker">LAFFEMAS (<i>low, smiling</i>).</p> + +<div class="dialog"> +<span class="m2">Who is her Roderick?</span> +</div> + +<p class="speaker">GRACIEUX.</p> + +<div class="dialog"> +<span class="m5">You mean</span><br /> +<span class="i0">Her lover?</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">Yes!</span> +</div> + +<p class="speaker">GRACIEUX.</p> + +<div class="dialog"> +<span class="m3">Who groans beneath her spell?</span> +</div> + +<p class="speaker">LAFFEMAS (<i>impatiently</i>).</p> + +<div class="dialog"> +<span class="i0">There's one?</span> +</div> + +<p class="speaker">GRACIEUX.</p> + +<div class="dialog"> +<span class="m2">Of course!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>approaching him eagerly</i>).</p> + +<div class="dialog"> +<span class="m3">Then show him to me, quick!</span> +</div> + +<p class="speaker">GRACIEUX (<i>with profound obeisance</i>).</p> + +<div class="dialog"> +<span class="i0">It's I, my lord. I'm mad about her!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m5">You!</span> + +<p class="staging">[<i><span class="sc">Laffemas</span>, disappointed, turns away with annoyance; then he comes +back and shakes his purse in <span class="sc">Gracieux's</span> eyes and ears.</i></p> + +<span class="i0">Know you the sound of ducats?</span> +</div> + +<p class="speaker">GRACIEUX.</p> + +<div class="dialog"> +<span class="m4">Heavenly tones!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">I've got my Didier!</span><br /> +<span class="m2">[<i>To <span class="sc">Gracieux</span>.</i>] Do you see this purse?</span> +</div> + +<p class="speaker">GRACIEUX.</p> + +<div class="dialog"> +<span class="i0">How much!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">Gold ducats—twenty!</span> +</div> + +<p class="speaker">GRACIEUX.</p> + +<div class="dialog"> +<span class="m4">Humph!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>jingling the gold in his face</i>).</p> + +<div class="dialog"> +<span class="m5">Will you?</span> +</div> + +<p class="speaker">GRACIEUX (<i>grabbing the purse from him</i>).</p> + +<div class="dialog"> +<span class="i0">Most certainly!</span> + +<p class="staging">[<i>With theatrical tone to <span class="sc">Laffemas</span>, who listens anxiously.</i></p> + +<span class="m3">My lord, if your back bore</span><br /> +<span class="i0">Just in the center a great hump, as big</span><br /> +<span class="i0">As is your belly, and if those two bags</span><br /> +<span class="i0">Were filled with louis, sequins, and doubloons,</span><br /> +<span class="i0">In that case—</span> +</div> + +<p class="speaker">LAFFEMAS (<i>eagerly</i>).</p> + +<div class="dialog"> +<span class="m2">Well, what would you do?</span> +</div> + +<p class="speaker">GRACIEUX (<i>putting the purse into his pocket</i>).</p> + +<div class="dialog"> +<span class="m5">I'd take</span><br /> +<span class="i0">The whole of it, and I would say—</span> + +<p class="staging">[<i>With profound obeisance.</i></p> + +<span class="m5">I thank you;</span><br /> +<span class="i0">You are a gentleman!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>aside, furious</i>).</p> + +<div class="dialog"> +<span class="m3">Plague on the monkey!</span> +</div> + +<p class="speaker">GRACIEUX (<i>aside, laughing</i>).</p> + +<div class="dialog"> +<span class="i0">The devil take the cat!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m4">They have agreed</span><br /> +<span class="i0">On what to do, if any one suspects.</span><br /> +<span class="i0">'Tis a conspiracy. They'll all be dumb;</span><br /> +<span class="i0">Accursed gypsy devils!</span> + +<p class="staging">[<i>To <span class="sc">Gracieux</span> who is going away.</i></p> + +<span class="m4">Give me back</span><br /> +<span class="i0">My purse!</span> +</div> + +<p class="speaker">GRACIEUX (<i>turning around, with tragic tone</i>).</p> + +<div class="dialog"> +<span class="m2">What do you take me for, my lord?</span><br /> +<span class="i0">What will the world think of us, pray, if you</span><br /> +<span class="i0">Propose and I agree to anything</span><br /> +<span class="i0">So infamous as sell for gold a life,</span><br /> +<span class="i0">My soul? [<i>Turns to go.</i></span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">That's as you please; but give me back</span><br /> +<span class="i0">My money!</span> +</div> + +<p class="speaker">GRACIEUX.</p> + +<div class="dialog"> +<span class="m2">No, I keep my honor, sir,</span><br /> +<span class="i0">And we have no accounts to settle.</span> +</div> + +<p class="staging">[<i>He salutes him and re-enters barn.</i></p> + + +<h4>SCENE IX</h4> + +<p class="speaker">LAFFEMAS (<i>alone</i>).</p> + +<div class="dialog"> +<span class="m5">Humph!</span><br /> +<span class="i0">The wretched juggler! Pride in such base souls!</span><br /> +<span class="i0">If you some day should fall into my hands</span><br /> +<span class="i0">Unoccupied with better sort of game—</span><br /> +<span class="i0">But this will not find Didier! Now, I can't</span><br /> +<span class="i0">Take all this crowd and put them to the torture.</span><br /> +<span class="i0">This is worse work than hunting needles in</span><br /> +<span class="i0">A haystack. Faith! a chemist's crucible</span><br /> +<span class="i0">Bewitched I ought to have, which, eating up</span><br /> +<span class="i0">The lead and copper, would reveal at last</span><br /> +<span class="i0">The golden ingot hid by much alloy.</span><br /> +<span class="i0">Go to the Cardinal without my prize?</span><br /> + +<p class="staging">[<i>Striking his brow.</i></p> + +<span class="i0">That's it! The clever thought! Oh, joy! He's mine!</span> + +<p class="staging">[<i>Calling through the barn door.</i></p> + +<span class="i0">Ho, gentlemen, comedians! one word, please.</span> +</div> + +<p class="staging">[<i>The actors crowd out of the barn.</i></p> + + +<h4>SCENE X</h4> + +<p class="scene"><i>The same. Comedians, among them <span class="sc">Marion</span> and <span class="sc">Didier</span>; afterward +<span class="sc">Saverny</span>, afterward <span class="sc">Marquis de Nangis</span></i></p> + +<p class="speaker">SCARAMOUCHE (<i>to <span class="sc">Laffemas</span></i>).</p> + +<div class="dialog"> +<span class="i0">What do you want with us?</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m4">Without preamble:</span><br /> +<span class="i0">My lord the Cardinal commissioned me</span><br /> +<span class="i0">To find good actors, if there may be such</span><br /> +<span class="i0">Within the provinces, to act the plays</span><br /> +<span class="i0">Which he constructs in hours of leisure when</span><br /> +<span class="i0">Allowed by State affairs. In spite of care</span><br /> +<span class="i0">And earnest thought, his theater declines,</span><br /> +<span class="i0">And is no credit to a cardinal-duke.</span> +</div> + +<p class="staging">[<i>All the actors press eagerly forward. <span class="sc">Saverny</span> enters, and watches +the scene with curiosity.</i></p> + +<p class="speaker">GRACIEUX (<i>aside, counting his money</i>).</p> + +<div class="dialog"> +<span class="i0">Twelve only! He said twenty. The old scamp!</span><br /> +<span class="i0">He's robbed me!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">Let each one repeat some scene,</span><br /> +<span class="i0">That I may know your talents and may choose.</span><br /> +<span class="i0">[<i>Aside.</i>] If he gets out of that, this Didier's sharp.</span><br /> +<span class="i0">[<i>Aloud.</i>] Are you all here?</span> +</div> + +<p class="staging">[<i><span class="sc">Marion</span> stealthily approaches <span class="sc">Didier</span> and tries to lead him off.</i></p> + +<p class="speaker">GRACIEUX (<i>going up to them</i>).</p> + +<div class="dialog"> +<span class="m3">Come with the others—you!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Oh, heaven!</span> +</div> + +<p class="staging">[<i><span class="sc">Didier</span> leaves her and joins the actors; she follows him.</i></p> + +<p class="speaker">GRACIEUX.</p> +<div class="dialog"> +<span class="m2">You're in luck to be with us.</span><br /> +<span class="i0">To have new clothes, get every day a feast,</span><br /> +<span class="i0">To speak the Cardinal's verses every night,</span><br /> +<span class="i0">A happy lot!</span> +</div> + +<p class="staging">[<i>All the actors take their places before <span class="sc">Laffemas</span>. <span class="sc">Marion</span> and +<span class="sc">Didier</span> among them. <span class="sc">Didier</span> does not look at <span class="sc">Marion</span>; his eyes are +bent on the ground; his arms are folded underneath his cloak. <span class="sc">Marion</span> +watches him anxiously.</i></p> + +<p class="speaker">GRACIEUX (<i>at head of troupe, aside</i>).</p> + +<div class="dialog"> +<span class="m3">Who would have thought this crow</span><br /> +<span class="i0">Recruited actors for the Cardinal?</span> +</div> + +<p class="speaker">LAFFEMAS (<i>to <span class="sc">Gracieux</span></i>).</p> + +<div class="dialog"> +<span class="i0">First you. What do you play?</span> +</div> + +<p class="speaker">GRACIEUX (<i>with a low bow and a pirouette which shows off his hump</i>).</p> + +<div class="dialog"> +<span class="m4">I'm called the Sylph</span><br /> +<span class="i0">Among the troupe. This piece I know the best.</span> +</div> + +<p class="staging">[<i>He sings.</i></p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">"On the bald heads of magistrates,</span><br /> + <span class="i0">Enormous wigs are spread.</span><br /> + <span class="i0">Out of that fleece, in due time, come</span><br /> + <span class="i0">Chains, gallows, tortures dread.</span><br /> + <span class="i0">Whenever one called president</span><br /> + <span class="i0">Shall shake his bigger head.</span></div> +<div class="stanza"> + <span class="i0">"Let any barber, strolling fool,</span><br /> + <span class="i0">Wash, powder, and pomade</span><br /> + <span class="i0">The hair which bald heads steal from beards,</span><br /> + <span class="i0">Let them be combed and frayed</span><br /> + <span class="i0">In shape of a right gorgeous wig—</span><br /> + <span class="i0">Your magistrate is made.</span></div> +<div class="stanza"> + <span class="i0">"The lawyer is a sea of words</span><br /> + <span class="i0">Hurled wildly at the bench.</span><br /> + <span class="i0">A killing kind of mixing up</span><br /> + <span class="i0">Of Latin and bad French—"</span> +</div></div> + +<p class="speaker">LAFFEMAS (<i>interrupting him</i>).</p> + +<div class="dialog"> +<span class="i0">You sing so false, you'd make an eagle sick.</span><br /> +<span class="i0">Be still!</span> +</div> + +<p class="speaker">GRACIEUX (<i>laughing</i>).</p> + +<div class="dialog"> +<span class="m2">I may sing false—the song is true!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>to <span class="sc">Scaramouche</span></i>).</p> + +<div class="dialog"> +<span class="i0">It's your turn now.</span> +</div> + +<p class="speaker">SCARAMOUCHE (<i>bowing</i>).</p> + +<div class="dialog"> +<span class="m3">I'm Scaramouche, my lord!</span><br /> +<span class="i0">"The Lady of Honor," sir, I open thus.</span> + +<p class="staging">[<i>Declaiming.</i></p> + +<span class="i0">"'Naught is so fine,' said once a Queen of Spain,</span><br /> +<span class="i0">'As bishop at the altar, soldier in</span><br /> +<span class="i0">The field, unless it is a girl in bed,</span><br /> +<span class="i0">Or robber on the gallows—'"</span> +</div> + +<p class="staging">[<i><span class="sc">Laffemas</span> interrupts <span class="sc">Scaramouche</span> with a gesture and signs to +<span class="sc">Taillebras</span> to speak. <span class="sc">Taillebras</span> makes a profound obeisance, then +draws himself up.</i></p> + +<p class="speaker">TAILLEBRAS (<i>with emphasis</i>).</p> + +<div class="dialog"> +<span class="m4">As for me,</span><br /> +<span class="i0">Sir, I am Taillebras. From Thibet, sir,</span><br /> +<span class="i0">I come; I've punished the great Khan, I've captured</span><br /> +<span class="i0">The Mogul—</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">Choose something else—</span> + +<p class="staging">[<i>Low to <span class="sc">Saverny</span>, who stands beside him.</i></p> + +<span class="m5">A beauty,</span><br /> +<span class="i0">Eh, this Marion!</span> +</div> + +<p class="speaker">TAILLEBRAS.</p> + +<div class="dialog"> +<span class="m3">It is one of our best.</span><br /> +<span class="i0">If you prefer, I will be Charlemagne,</span><br /> +<span class="i0">The Emperor of the West.</span> + +<p class="staging">[<i>Declaiming with emphasis.</i></p> + +<span class="m4">"Strange destiny!</span><br /> +<span class="i0">O Heaven, I appeal to you! Bear witness</span><br /> +<span class="i0">Unto my woe. I must despoil myself,</span><br /> +<span class="i0">Surrender my beloved one to another.</span><br /> +<span class="i0">I must endow my rival, fill his heart</span><br /> +<span class="i0">With joy, while my poor stomach stings with grief.</span><br /> +<span class="i0">Thus, birds, you can no more perch in the woods;</span><br /> +<span class="i0">Thus, flies, you can no more buzz in the fields;</span><br /> +<span class="i0">Thus, sheep, you can no longer wear your wool;</span><br /> +<span class="i0">Thus, bulls, you can no longer raze the plains."</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">Good!</span><br /> +<span class="i0">[<i>To <span class="sc">Saverny</span>.</i>] Listen, the fine verses! "Bradamante"</span><br /> +<span class="i0">By Garnier; what a poet!</span><br /> +<span class="m3">[<i>To <span class="sc">Marion</span>.</i>] 'Tis your turn,</span><br /> +<span class="i0">My beauty. First, your name.</span> +</div> + +<p class="speaker">MARION (<i>trembling</i>).</p> + +<div class="dialog"> +<span class="m4">I am Chimène!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">Indeed! Chimène? Then you must have a lover.</span><br /> +<span class="i0">He has killed a man in duel—</span> +</div> + +<p class="speaker">MARION (<i>terrified</i>).</p> + +<div class="dialog"> +<span class="m5">Oh, heaven!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>maliciously</i>).</p> + +<div class="dialog"> +<span class="i0">I've a good memory. If one escapes—</span> +</div> + +<p class="speaker">MARION (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">Great heaven!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">Come! Now let us hear your scene</span> +</div> + +<p class="speaker">MARION (<i>half turned toward <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="i0">"Since to arrest you in this fatal course</span><br /> +<span class="i0">Your life and honor are of no avail,</span><br /> +<span class="i0">If ever I have loved you, Roderick,</span><br /> +<span class="i0">Defend yourself to save me from Don Sancho.</span><br /> +<span class="i0">Fight valiantly against the fearful fate</span><br /> +<span class="i0">Which must surrender me to one I hate.</span><br /> +<span class="i0">Shall I say more? Go; your defense shall be</span><br /> +<span class="i0">Your right to force my duty, seal my lips!</span><br /> +<span class="i0">If love for me still in your brave heart lies,</span><br /> +<span class="i0">Go win this combat, for Chimène is prize."</span> +</div> + +<p class="staging">[<i><span class="sc">Laffemas</span> rises gallantly and kisses her hand. <span class="sc">Marion</span> is pale; she +looks at <span class="sc">Didier</span>, who remains motionless with eyes on the ground.</i></p> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">No voice but yours could take so firm a hold</span><br /> +<span class="i0">Upon the secret fibers of our heart.</span><br /> +<span class="i0">You are adorable.</span><br /> +<span class="i0">[<i>To <span class="sc">Saverny</span>.</i>] You can't deny</span><br /> +<span class="i0">Corneille is not worth Garnier, after all.</span><br /> +<span class="i0">'Tis true, his verses have a finer ring</span><br /> +<span class="i0">Since he's belonged unto the Cardinal-Duke.</span><br /> +<span class="i0">[<i>To <span class="sc">Marion</span>.</i>] What a complexion! What fine eyes! Good God!</span><br /> +<span class="i0">This is no place for you! You're buried here.</span><br /> +<span class="i0">Sit down!</span> +</div> + +<p class="staging">[<i>He sits and makes sign to <span class="sc">Marion</span> to sit beside him; she draws back.</i></p> + +<p class="speaker">MARION (<i>low to <span class="sc">Didier</span>, with anguish</i>).</p> + +<div class="dialog"> +<span class="m2">For God's sake, let me stay with you!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>smiling</i>).</p> + +<div class="dialog"> +<span class="i0">Come sit by me, I say!</span> +</div> + +<p class="staging">[<i><span class="sc">Didier</span> repulses <span class="sc">Marion</span>, who staggers terrified to the bench where +<span class="sc">Laffemas</span> sits, and falls upon it.</i></p> + +<p class="speaker">MARION (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m4">'Tis horrible!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>smiling at Marion, with an air of reproach</i>).</p> + +<div class="dialog"> +<span class="i0">At last!</span><br /> +<span class="i0">[<i>To <span class="sc">Didier</span>.</i>] Now, sir, your turn. What is your name?</span> +</div> + +<p class="speaker">DIDIER (<i>with gravity</i>).</p> + +<div class="dialog"> +<span class="i0">My name is Didier!</span> +</div> + +<p class="speaker">MARION, LAFFEMAS, SAVERNY.</p> + +<div class="dialog"> +<span class="m3">Didier!</span> +</div> + +<p class="speaker">DIDIER (<i>to <span class="sc">Laffemas</span>, who laughs triumphantly</i>).</p> + +<div class="dialog"> +<span class="m4">Yes, you can</span><br /> +<span class="i0">Send all of them away. You've got your prey.</span><br /> +<span class="i0">Your prisoner himself takes up his chain.</span><br /> +<span class="i0">This joy has cost you a great deal of work.</span> +</div> + +<p class="speaker">MARION (<i>running to him</i>).</p> + +<div class="dialog"> +<span class="i0">Didier!</span> +</div> + +<p class="speaker">DIDIER (<i>with a freezing look</i>).</p> + +<div class="dialog"> +<span class="m2">Don't try to hinder me this time,</span><br /> +<span class="i0">Madame!</span> + +<p class="staging">[<i>She starts back and falls crushed upon the bank: to <span class="sc">Laffemas</span>.</i></p> + +<span class="m2">I've watched you creeping close to me,</span><br /> +<span class="i0">You demon! In your eyes I've seen that glare</span><br /> +<span class="i0">Of hell fire which illuminates your soul.</span><br /> +<span class="i0">I might have 'scaped your trap—a useless thing;</span><br /> +<span class="i0">But to see cunning wasted thus grieved me.</span><br /> +<span class="i0">Take me, and get well paid for treachery.</span> +</div> + +<p class="speaker">LAFFEMAS (<i>with concentrated rage, trying to laugh</i>).</p> + +<div class="dialog"> +<span class="i0">You are not a comedian, it would seem!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">It's you who played the comedy.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m5">Not well.</span><br /> +<span class="i0">But with the Cardinal I'll write a play.</span><br /> +<span class="i0">It is a tragedy: you have a part.</span> + +<p class="staging">[<i><span class="sc">Marion</span> screams with horror. <span class="sc">Didier</span> turns from her with contempt.</i></p> + +<span class="i0">Don't turn your head in such a lordly way.</span><br /> +<span class="i0">We will admire your acting, never fear!</span><br /> +<span class="i0">Come, recommend your soul to God, my friend.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Ah, God!</span> +</div> + +<p class="staging">[<i>At this moment <span class="sc">Marquis de Nangis</span> passes across the back of the +stage, in the same attitude, with his escort of Halberdiers. <span class="sc">Marion's</span> +cry arrests him; pale and silent he turns to the characters.</i></p> + +<p class="speaker">LAFFEMAS (<i>to</i> <span class="sc">Marquis de Nangis</span>).</p> + +<div class="dialog"> +<span class="m2">Marquis, I claim your aid. Good news!</span><br /> +<span class="i0">Lend me your escort. The murderer escaped</span><br /> +<span class="i0">Our vigilance, but we've recaptured him.</span> +</div> + +<p class="speaker">MARION (<i>throwing herself at <span class="sc">Laffemas's</span> feet</i>).</p> + +<div class="dialog"> +<span class="i0">Oh, pity for him!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>with gallantry</i>).</p> + +<div class="dialog"> +<span class="m3">At my feet, madame!</span><br /> +<span class="i0">'Tis I should kneel at yours.</span> +</div> + +<p class="speaker">MARION (<i>on her knees, clasping her hands</i>).</p> + +<div class="dialog"> +<span class="m4">My lord the judge,</span><br /> +<span class="i0">Have mercy upon others, if some day</span><br /> +<span class="i0">You hope a jealous judge, more powerful</span><br /> +<span class="i0">Than you are, will be merciful to you!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>smiling</i>).</p> + +<div class="dialog"> +<span class="i0">You're preaching us a sermon, I believe!</span><br /> +<span class="i0">Ah, madame, reign at balls and shine at fêtes,</span><br /> +<span class="i0">But do not preach us sermons. For your sake,</span><br /> +<span class="i0">I would do anything; but he has killed—</span><br /> +<span class="i0">It is a murder.</span> +</div> + +<p class="speaker">DIDIER (<i>to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m3">Rise! [<i><span class="sc">Marion</span> rises, trembling.</i></span><br /> +<span class="m4">You lie! it was a duel.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">Sir!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">I say, you lie!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m4">Have done!</span><br /> +<span class="m4">[<i>To <span class="sc">Marion</span>.</i>] Blood calls</span><br /> +<span class="i0">For blood; this rigor troubles me— I wish—</span><br /> +<span class="i0">But he has killed—killed whom? The young marquis,</span><br /> +<span class="i0">Gaspard de Saverny,</span> + +<p class="staging">[<i>Indicating <span class="sc">Marquis de Nangis</span>.</i></p> + +<span class="m4">Nephew to him,</span><br /> +<span class="i0">That worthy old man there. A rare young lord;</span><br /> +<span class="i0">The greatest loss for France and for the King.</span><br /> +<span class="i0">Were he not dead, I do not say that I—</span><br /> +<span class="i0">My heart is not of stone, and if—</span> +</div> + +<p class="speaker">SAVERNY (<i>taking a step forward</i>).</p> + +<div class="dialog"> +<span class="m5">The man</span><br /> +<span class="i0">You think is dead is living. I am he!</span> +</div> + +<p class="staging">[<i>General astonishment.</i></p> + +<p class="speaker">LAFFEMAS (<i>starting</i>).</p> + +<div class="dialog"> +<span class="i0">Gaspard de Saverny! A miracle!</span><br /> +<span class="i0">There is his coffin.</span> +</div> + +<p class="speaker">SAVERNY (<i>tearing off his false mustache, his plaster, and black wig</i>).</p> + +<div class="dialog"> +<span class="m3">But he is not dead!</span><br /> +<span class="i0">Who recognizes me?</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS (<i>as if awakening from a dream, starts, and with a great cry throws himself into his nephew's arms</i>).</p> + +<div class="dialog"> +<span class="m4">Gaspard! My nephew!</span><br /> +<span class="i0">It is my child! [<i>They remain locked in each other's arms.</i></span> +</div> + +<p class="speaker">MARION (<i>falling upon her knees and lifting her eyes to heaven</i>).</p> + +<div class="dialog"> +<span class="m3">Didier is saved! Praise God!</span> +</div> + +<p class="speaker">DIDIER (<i>coldly, to <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="i0">What is the use? I wished to die.</span> +</div> + +<p class="speaker">MARION (<i>still on her knees</i>).</p> + +<div class="dialog"> +<span class="m5">Kind God,</span><br /> +<span class="i0">You have protected him!</span> +</div> + +<p class="speaker">DIDIER (<i>continuing, without listening to her</i>).</p> + +<div class="dialog"> +<span class="m4">How otherwise</span><br /> +<span class="i0">Could he have caught me in his trap? Think you</span><br /> +<span class="i0">My spur could not have crushed the spider's web</span><br /> +<span class="i0">Which he had made to catch a gnat? Henceforth</span><br /> +<span class="i0">I ask no other boon than death. This is</span><br /> +<span class="i0">No friendly gift from you, who owe me life!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">What does he say? You must live—</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m4">All's not over.</span><br /> +<span class="i0">Is it certain that this is the Marquis?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">It is.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">We must have proof of it at once.</span> +</div> + +<p class="speaker">MARION (<i>indicating <span class="sc">Marquis de Nangis</span>, who is still holding <span class="sc">Saverny</span> in his arms</i>).</p> + +<div class="dialog"> +<span class="i0">Look at that old man, how he smiles and weeps!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">Is that Gaspard de Saverny?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">What heart</span><br /> +<span class="i0">Can question such a close embrace?</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS (<i>turning around</i>).</p> + +<div class="dialog"> +<span class="m5">You ask</span><br /> +<span class="i0">If it is he—Gaspard, my son, my soul?</span><br /> +<span class="i0">[<i>To <span class="sc">Marion</span>.</i>] Did he not ask if it was he, madame?</span> +</div> + +<p class="speaker">LAFFEMAS (<i>to <span class="sc">Marquis de Nangis</span></i>).</p> + +<div class="dialog"> +<span class="i0">Then you affirm that this man is your nephew?</span><br /> +<span class="i0">He is Gaspard de Saverny?</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS (<i>with intensity</i>).</p> + +<div class="dialog"> +<span class="m5">I do!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">According to the law I do arrest</span><br /> +<span class="i0">Gaspard de Saverny, in the King's name.</span><br /> +<span class="i0">Your sword!</span> +</div> + +<p class="staging">[<i>Surprise and consternation among the characters.</i></p> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m2">My son!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Oh, Heaven!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Another head!</span><br /> +<span class="i0">Yes, two were needed. 'Tis the least, to bring</span><br /> +<span class="i0">This Roman Cæsar one head in each hand.</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="i0">Speak! By what right—</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m3">Ask my lord cardinal.</span><br /> +<span class="i0">All who survive a duel fall beneath</span><br /> +<span class="i0">The ordinance. Give me your sword.</span> +</div> + +<p class="speaker">DIDIER (<i>looking at <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="m5">Rash man!</span> +</div> + +<p class="speaker">SAVERNY (<i>drawing his sword and presenting it to <span class="sc">Laffemas</span></i>).</p> + +<div class="dialog"> +<span class="i0">'Tis here!</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS (<i>stopping him</i>).</p> + +<div class="dialog"> +<span class="m2">A moment! None is master here</span><br /> +<span class="i0">Save me! I mete out justice high and low.</span><br /> +<span class="i0">Our sire the King would be no more than guest.</span><br /> +<span class="i0">[<i>To <span class="sc">Saverny</span>.</i>] Give up your sword to none but me.</span> +</div> + +<p class="staging">[<i><span class="sc">Saverny</span> hands him his sword, and clasps him in his arms.</i></p> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m5">In truth,</span><br /> +<span class="i0">That is a feudal right quite out of date.</span><br /> +<span class="i0">The Cardinal might blame me for it, but</span><br /> +<span class="i0">I would not willingly annoy you—</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Wretch!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>bowing to <span class="sc">Marquis de Nangis</span></i>).</p> + +<div class="dialog"> +<span class="i0">So I consent. You can return the favor</span><br /> +<span class="i0">By loaning me your guard and prison, sir.</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS (<i>to his Guards</i>).</p> + +<div class="dialog"> +<span class="i0">Not so! Your sires were vassals to my sires.</span><br /> +<span class="i0">I forbid any one to stir a step.</span> +</div> + +<p class="speaker">LAFFEMAS (<i>with voice of thunder</i>).</p> + +<div class="dialog"> +<span class="i0">My masters, hark to me: I am the judge</span><br /> +<span class="i0">Of the secret tribunal, Criminal-</span><br /> +<span class="i0">Lieutenant to the Cardinal. Conduct</span><br /> +<span class="i0">These men to prison. Four of you mount guard</span><br /> +<span class="i0">Before each door. You're all responsible.</span><br /> +<span class="i0">It would be rash to disobey when I command</span><br /> +<span class="i0">You to go here or there or do a deed.</span><br /> +<span class="i0">If any hesitate, it is because</span><br /> +<span class="i0">His head annoys him.</span> +</div> + +<p class="staging">[<i>The Guards, terrified, drag the two prisoners off in silence, <span class="sc">Marquis +de Nangis</span> turns away indignant and buries his face in his hands.</i></p> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">All is lost!</span><br /> +<span class="m3">[<i>To <span class="sc">Laffemas</span>.</i>] Have pity!</span><br /> +<span class="i0">If in your heart—</span> +</div> + +<p class="speaker">LAFFEMAS (<i>low to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m3">If you will come to-night,</span><br /> +<span class="i0">I'll tell you something—</span> +</div> + +<p class="speaker">MARION (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m3">What is it he wants?</span><br /> +<span class="i0">His smiles are terrible. He has a gloomy,</span><br /> +<span class="i0">Treacherous soul.</span> + +<p class="staging">[<i>Turning with desperation to <span class="sc">Didier</span>.</i></p> + +<span class="m3">Didier!</span> +</div> + +<p class="speaker">DIDIER (<i>coldly</i>).</p> + +<div class="dialog"> +<span class="m4">Farewell, madame!</span> +</div> + +<p class="speaker">MARION (<i>shuddering at the tone of his voice</i>).</p> + +<div class="dialog"> +<span class="i0">What have I done? Oh, miserable woman!</span> + +<p class="staging">[<i>She sinks upon the bank.</i></p> +</div> + + + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Miserable! Yes!</span> +</div> + +<p class="speaker">SAVERNY (<i>embraces <span class="sc">Marquis de Nangis</span>, then turns to <span class="sc">Laffemas</span></i>).</p> + +<div class="dialog"> +<span class="m3">Is your pay doubled</span><br /> +<span class="i0">When you bring two heads?</span> +</div> + +<p class="speaker">LACKEY (<i>entering, to <span class="sc">Marquis de Nangis</span></i>).</p> + +<div class="dialog"> +<span class="m5">My lord,</span><br /> +<span class="i0">The funeral preparations for the Marquis</span><br /> +<span class="i0">Are now completed. I am sent to you</span><br /> +<span class="i0">To know what hour and day the ceremony</span><br /> +<span class="i0">Will be performed.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m3">Come back one month from now.</span> +</div> + +<p class="staging">[<i>The Guards lead off <span class="sc">Didier</span> and <span class="sc">Saverny</span>.</i></p> + + + + +<h3>ACT IV</h3> + +<p class="center">THE KING</p> + +<p><span class="sc">Scene.</span>—<i>Chambord. The guard-room in the Castle of Chambord</i></p> + + +<h4>SCENE I</h4> + +<p class="scene"><i><span class="sc">Duke de Bellegarde</span>, rich court costume covered with embroidery and +lace, the order of the Holy Ghost around his neck, and the star upon his +cloak. <span class="sc">Marquis de Nangis</span>, in deep mourning and followed by his escort +of Guards. Both cross the back of the hall</i></p> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">Condemned?</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m2">Condemned!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m3">E'en so! The King can pardon.</span><br /> +<span class="i0">It is his kingly right and royal duty.</span><br /> +<span class="i0">Have no more fear. In heart as well as name</span><br /> +<span class="i0">He's son of Henry IV.</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m4">I was his comrade.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">Indeed, we spoiled full many a coat of armor</span><br /> +<span class="i0">For the proud sire! Now go unto the son,</span><br /> +<span class="i0">Show him your gray hairs, and in lieu of prayer</span><br /> +<span class="i0">Cry out "Ventre Saint Gris!" Let Richelieu</span><br /> +<span class="i0">Himself give better reason! Hide here now.</span><br /> + +<p class="staging">[<i>He opens a side door.</i></p> + +<span class="i0">He's coming soon. Do you know, to be frank,</span><br /> +<span class="i0">Your costume's of a style to make one laugh.</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="i0">Laugh at my mourning?</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m3">Ah, these coxcombs here!</span><br /> +<span class="i0">Old friend, stay there; you'll not have long to wait.</span><br /> +<span class="i0">I will dispose him 'gainst the Cardinal.</span><br /> +<span class="i0">I'll stamp upon the ground for signal; then</span><br /> +<span class="i0">Come out.</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS (<i>grasping his hand</i>).</p> + +<div class="dialog"> +<span class="m2">May God repay you!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>to a <span class="sc">Musketeer</span> who walks up and down in front of a small gilt door</i>).</p> + +<div class="dialog"> +<span class="m4">Monsieur, pray,</span><br /> +<span class="i0">What does the King?</span> +</div> + +<p class="speaker">MUSKETEER.</p> + +<div class="dialog"> +<span class="m3">He's working, my lord duke!</span><br /> + +<p class="staging">[<i>Lowering his voice.</i></p> + +<span class="i0">A man in black is with him.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m4">At this moment</span><br /> +<span class="i0">He is singing a death-warrant, I believe.</span><br /> + +<p class="staging">[<i>To the old <span class="sc">Marquis</span>, grasping his hand.</i></p> + +<span class="i0">Be brave!</span><br /> + +<p class="staging">[<i>He conducts him to a neighboring gallery.</i></p> + +<span class="m2">While waiting for the signal, look</span><br /> +<span class="i0">At these new ceilings, they're by Primatice.</span> +</div> + +<p class="staging">[<i>Both go out. <span class="sc">Marion</span>, in deep mourning, enters through the great door +in the back, which opens on a staircase.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene"><i><span class="sc">Marion</span>, the Guards</i></p> + +<p class="speaker">HALBERDIER (<i>to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="i0">Madame, you cannot enter!</span> +</div> + +<p class="speaker">MARION (<i>advancing</i>).</p> +<div class="dialog"> +<span class="m4">Sir!</span> +</div> + +<p class="speaker">HALBERDIER (<i>placing his halberd against the door</i>).</p> + +<div class="dialog"> +<span class="m5">I say,</span><br /> +<span class="i0">No entrance!</span> +</div> + +<p class="speaker">MARION (<i>with contempt</i>).</p> + +<div class="dialog"> +<span class="m2">Here you turn your lance against</span><br /> +<span class="i0">A woman. Elsewhere, 'tis in her defense.</span> +</div> + +<p class="speaker">MUSKETEER (<i>laughing, to <span class="sc">Halberdier</span></i>).</p> + +<div class="dialog"> +<span class="i0">Well said!</span> +</div> + +<p class="speaker">MARION (<i>firmly</i>).</p> + +<div class="dialog"> +<span class="m2">I must immediately have audience</span><br /> +<span class="i0">With the Duke de Bellegarde.</span> +</div> + +<p class="speaker">HALBERDIER (<i>lowering his halberd, aside</i>).</p> + +<div class="dialog"> +<span class="m4">Ah, these gallants!</span> +</div> + +<p class="speaker">MUSKETEER.</p> + +<div class="dialog"> +<span class="i0">Enter, madame.</span> +</div> + +<p class="staging">[<i>She enters with determined step.</i></p> + +<p class="speaker">HALBERDIER (<i>aside, watching her from the corner of his eye</i>).</p> + +<div class="dialog"> +<span class="m3">Well, the old duke is not</span><br /> +<span class="i0">As feeble as he looks. This rendezvous</span><br /> +<span class="i0">Would have cost him a sojourn in the Louvre,</span><br /> +<span class="i0">In former times.</span> +</div> + +<p class="speaker">MUSKETEER (<i>making sign to <span class="sc">Halberdier</span> to keep still</i>).</p> + +<div class="dialog"> +<span class="m3">The door is open.</span> +</div> + +<p class="staging">[<i>The little gilt door is opened. <span class="sc">M. de Laffemas</span> comes out, holding in +his hand a parchment to which a red seal hangs by strands of silk.</i></p> + + +<h4>SCENE III</h4> + +<p class="scene"><i><span class="sc">Marion</span>, <span class="sc">Laffemas</span>: gesture of surprise from both. <span class="sc">Marion</span> turns +away from him with horror</i></p> + +<p class="speaker">LAFFEMAS (<i>low, advancing slowly toward <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m5">You!</span><br /> +<span class="i0">What is your errand here?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">What's yours?</span> +</div> + +<p class="speaker">LAFFEMAS (<i>unrolls the parchment and spreads it out before her eyes</i>).</p> + +<div class="dialog"> +<span class="m5">Signed by</span><br /> +<span class="i0">The King!</span> +</div> + +<p class="speaker">MARION (<i>glances at it, then buries her face in her hands</i>).</p> + +<div class="dialog"> +<span class="m2">Good God!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>speaking in her ear</i>).</p> + +<div class="dialog"> +<span class="m3">Will you?</span> + +<p class="staging">[<i><span class="sc">Marion</span> shivers and looks him in the face; he fixes his eyes on hers: +lowering his voice.</i></p> + +<span class="m4">Wilt thou?</span> +</div> + +<p class="speaker">MARION (<i>pushing him away</i>).</p> + +<div class="dialog"> +<span class="m5">Away!</span><br /> +<span class="i0">Foul tempter!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>straightening himself up, sneeringly</i>).</p> + +<div class="dialog"> +<span class="m2">You will not!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">I have no fear!</span><br /> +<span class="i0">The King can pardon: 'tis the King who reigns.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">Go try him. See what his good will is worth!</span><br /> + +<p class="staging">[<i>He turns away, then turns back: folds his arms and whispers to her.</i></p> + +<span class="i0">Beware of waiting until I refuse!</span> +</div> + +<p class="staging">[<i>Exits. <span class="sc">Duke de Bellegarde</span> enters.</i></p> + + +<h4>SCENE IV</h4> + +<p class="scene sc">Marion, Duke de Bellegarde</p> + +<p class="speaker">MARION (<i>going toward <span class="sc">Duke de Bellegarde</span></i>).</p> + +<div class="dialog"> +<span class="i0">Here you are captain, my lord duke.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m5">'Tis you,</span><br /> +<span class="i0">My beauty! [<i>Bowing.</i></span><br /> +<span class="m2">Speak! What does my queen desire?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">To see the King.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m2">When?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Now!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m4">This is short notice!</span><br /> +<span class="i0">Why?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">For something!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>bursting into a laugh</i>).</p> + +<div class="dialog"> +<span class="m3">We will send for him!</span><br /> +<span class="i0">How she goes on!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Then you refuse me?</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m5">Nay!</span><br /> +<span class="i0">Am I not yours? Have we refused each other</span><br /> +<span class="i0">Anything?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">That's very well, my lord!</span><br /> +<span class="i0">When shall I see the King?</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m4">After the Duke.</span><br /> +<span class="i0">I promise you shall see him when he passes</span><br /> +<span class="i0">Through this hall. But while waiting, talk with me!</span><br /> +<span class="i0">Ah, little woman, are we good? In black?</span><br /> +<span class="i0">Lady-in-waiting you might be. You used</span><br /> +<span class="i0">To laugh so much.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">I don't laugh now.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m5">Indeed!</span><br /> +<span class="i0">I think she's weeping! Marion! You?</span> +</div> + +<p class="speaker">MARION (<i>wiping her eyes: with firm tone</i>).</p> + +<div class="dialog"> +<span class="m5">My lord,</span><br /> +<span class="i0">I want to see his Majesty at once!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">For what?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Just Heaven! For—</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m4">Is it against</span><br /> +<span class="i0">The Cardinal?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">It is!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>opening the gallery for her</i>).</p> + +<div class="dialog"> +<span class="m4">Please enter here.</span><br /> +<span class="i0">I put the discontented all in there;</span><br /> +<span class="i0">Do not come out before the signal, please.</span> + +<p class="staging">[<i><span class="sc">Marion</span> enters; he shuts door.</i></p> + +<span class="i0">I would have run the risk for my old friend.</span><br /> +<span class="i0">It costs no more to do it for them both.</span> +</div> + +<p class="staging">[<i>The hall is gradually filled with Courtiers; they talk together. <span class="sc">Duke +de Bellegarde</span> goes from one to the other. <span class="sc">L'Angely</span> enters.</i></p> + + +<h4>SCENE V</h4> + +<p class="scene"><i>The same. <span class="sc">Duke de Beaupréau</span>, <span class="sc">Laffemas</span>, <span class="sc">Viscount de Rohan</span>, <span class="sc">Count +de Charnacé</span>, <span class="sc">Abbé de Gondi</span>, and other courtiers</i></p> + +<p class="speaker">DUKE DE BELLEGARDE (<i>to <span class="sc">Duke de Beaupréau</span></i>).</p> + +<div class="dialog"> +<span class="i0">Good-morning, Duke!</span> +</div> + +<p class="speaker">DUKE DE BEAUPRÉAU.</p> + +<div class="dialog"> +<span class="m4">Good-morning!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m5">Any news?</span> +</div> + +<p class="speaker">DUKE DE BEAUPRÉAU.</p> + +<div class="dialog"> +<span class="i0">There's talk of a new cardinal.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m5">Which one?</span><br /> +<span class="i0">The Archbishop of Arle?</span> +</div> + +<p class="speaker">DUKE DE BEAUPRÉAU.</p> + +<div class="dialog"> +<span class="m3">No! Bishop of Autun.</span><br /> +<span class="i0">All Paris thinks he has obtained the hat.</span> +</div> + +<p class="speaker">ABBÉ DE GONDI.</p> + +<div class="dialog"> +<span class="i0">'Tis his by right. He was commander of</span><br /> +<span class="i0">Artillery at the siege of La Rochelle.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">That's true!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m2">The Holy See has my approval.</span><br /> +<span class="i0">This one will be a cardinal according</span><br /> +<span class="i0">To the canons.</span> +</div> + +<p class="speaker">ABBÉ DE GONDI (<i>laughing</i>).</p> + +<div class="dialog"> +<span class="m3">L'Angely—the fool!</span> +</div> + +<p class="speaker">L'ANGELY (<i>bowing</i>).</p> + +<div class="dialog"> +<span class="i0">My lord knows all my names.</span> +</div> + +<p class="staging">[<i><span class="sc">Laffemas</span> enters; all the Courtiers vie with each other in paying +court to him and surrounding him. <span class="sc">Duke de Bellegarde</span> watches them with +vexation.</i></p> + +<p class="speaker">DUKE DE BELLEGARDE (<i>to</i> <span class="sc">L'Angely</span>).</p> + +<div class="dialog"> +<span class="m4">Fool, who's that man</span><br /> +<span class="i0">Who wears the ermine cloak?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m4">Whom every one</span><br /> +<span class="i0">Is paying court to?</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m3">Yes. I know him not.</span><br /> +<span class="i0">Is he a follower of Monsieur d'Orleans?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">They would not fawn on him so much.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>watching <span class="sc">Laffemas</span>, who struts about</i>).</p> + +<div class="dialog"> +<span class="m5">What airs!</span><br /> +<span class="i0">As if he were grandee of Spain!</span> +</div> + +<p class="speaker">L'ANGELY (<i>low</i>).</p> + +<div class="dialog"> +<span class="m5">It is</span><br /> +<span class="i0">Sir Laffemas, intendant of Champagne,</span><br /> +<span class="i0">Lieutenant-Criminal—</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>low</i>).</p> + +<div class="dialog"> +<span class="m4">Infernal, say!</span><br /> +<span class="i0">He's called the Cardinal's executioner?</span> +</div> + +<p class="speaker">L'ANGELY (<i>still low</i>).</p> + +<div class="dialog"> +<span class="i0">The same.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m2">That man at Court!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m4">Why not? One extra</span><br /> +<span class="i0">Tiger-cat in the menagerie!</span><br /> +<span class="i0">Shall I present him?</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>haughtily</i>).</p> + +<div class="dialog"> +<span class="m3">Peace, you fool!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m5">I think</span><br /> +<span class="i0">I'd cultivate him if I were a lord.</span><br /> +<span class="i0">Be friendly! Unto each man comes his day.</span><br /> +<span class="i0">If he takes not your hand, he may your head.</span> +</div> + +<p class="staging">[<i>He seeks <span class="sc">Laffemas</span>, presents him to <span class="sc">Duke de Bellegarde</span>, who bows +with ill-concealed displeasure.</i></p> + +<p class="speaker">LAFFEMAS (<i>bowing</i>).</p> + +<div class="dialog"> +<span class="i0">Sir Duke!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m2">Sir, I am charmed—</span><br /> +<span class="m3">[<i>Aside.</i>] Upon my life,</span><br /> +<span class="i0">We're fallen low, Monsieur de Richelieu!</span> +</div> + +<p class="staging">[<i><span class="sc">Laffemas</span> walks away.</i></p> + +<p class="speaker">VISCOUNT DE ROHAN (<i>bursting into laughter among a group of Courtiers in the back of the hall</i>).</p> + +<div class="dialog"> +<span class="i0">Delightful!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m2">What?</span> +</div> + +<p class="speaker">VISCOUNT DE ROHAN.</p> + +<div class="dialog"> +<span class="m3">That Marion is here.</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Here—Marion?</span> +</div> + +<p class="speaker">VISCOUNT DE ROHAN.</p> + +<div class="dialog"> +<span class="m3">We were just saying this:</span><br /> +<span class="i0">"Chaste Louis's guest is Marion." How rich!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">A charming piece of wit, indeed, my lord!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>to <span class="sc">Count de Charnacé</span></i>).</p> + +<div class="dialog"> +<span class="i0">Sir wolf-hunter, have you found any prey?</span><br /> +<span class="i0">Is hunting good?</span> +</div> + +<p class="speaker">COUNT DE CHARNACÉ.</p> + +<div class="dialog"> +<span class="m3">There's nothing! Yesterday</span><br /> +<span class="i0">I had great expectations, for three peasants</span><br /> +<span class="i0">Had been devoured by wolves. At first I thought</span><br /> +<span class="i0">We would find several at Chambord. I beat</span><br /> +<span class="i0">The woods, but not a wolf, nor trace of one!</span><br /> +<span class="i0">[<i>To <span class="sc">L'Angely</span>.</i>] Fool, know you anything that's gay?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m5">Nothing,</span><br /> +<span class="i0">My lord, except two men will soon be hanged</span><br /> +<span class="i0">At Beaugency for dueling.</span> +</div> + +<p class="speaker">ABBÉ DE GONDI.</p> + +<div class="dialog"> +<span class="m5">So little,</span><br /> +<span class="i0">Bah! [<i>The small gilt door is opened.</i></span> +</div> + +<p class="speaker">AN USHER.</p> + +<div class="dialog"> +<span class="m2">The King!</span> +</div> + +<p class="staging">[<i><span class="sc">The King</span> enters; he is in black, his eyes are cast down. The order +of the Holy Ghost is on his doublet and his cloak. Hat on his head. The +Courtiers all uncover and range themselves, silently, in two rows. The +Guards lower their pikes and present muskets.</i></p> + + +<h4>SCENE VI</h4> + +<p class="scene"><i>The same. <span class="sc">The King.</span> <span class="sc">The King</span> enters slowly, passes through the +crowd of Courtiers, without lifting his head, stops at front of stage, +and stands for several instants absorbed and silent. The Courtiers +retire to the back of the hall</i></p> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">All things move on from bad to worse. Yes, all!</span> + +<p class="staging">[<i>To Courtiers, nodding his head.</i></p> + +<span class="i0">God keep you, gentlemen!</span> + +<p class="staging">[<i>He throws himself into a large armchair and sighs profoundly.</i></p> + +<span class="m4">I have slept ill!</span> + +<p class="staging">[<i>To <span class="sc">Duke de Bellegarde</span>.</i></p> + +<span class="i0">My lord!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>advancing with three profound salutations</i>).</p> + +<div class="dialog"> +<span class="m2">The time for sleeping, sire, is past.</span> +</div> + +<p class="speaker">THE KING (<i>eagerly</i>).</p> + +<div class="dialog"> +<span class="i0">True, Duke! The State is rushing to destruction</span><br /> +<span class="i0">With giant strides!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m3">'Tis guided by a hand</span><br /> +<span class="i0">Both strong and wise.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">He bears a heavy burden,</span><br /> +<span class="i0">Our good lord cardinal!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m3">Sire!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">He is old.</span><br /> +<span class="i0">I ought to spare him, but I have enough</span><br /> +<span class="i0">To do with living, without reigning!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="im5">Sire,</span><br /> +<span class="i0">The Cardinal's not old!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">Pray, tell me frankly—</span><br /> +<span class="i0">No one is watching or is listening here—</span><br /> +<span class="i0">What do you think of him?</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m3">Of whom, sire?</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m5">Him!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">His Eminence?</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Of course!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m4">My dazzled eyes</span><br /> +<span class="i0">Can hardly fix themselves—</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">Is that your frankness?</span><br /> +<span class="i0">There is no cardinal here, nor red, nor gray!</span><br /> +<span class="i0">No spies! Speak! Why are you afraid? The King</span><br /> +<span class="i0">Wants your opinion of the Cardinal.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">Entirely frank, sire?</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Yes, entirely frank.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>boldly</i>).</p> + +<div class="dialog"> +<span class="i0">Well, then, I think him a great man!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m5">If needful</span><br /> +<span class="i0">You would proclaim it on the house-tops? Good!</span><br /> +<span class="i0">Can you not understand? The State, mark me,</span><br /> +<span class="i0">Is suffering, because he does it all</span><br /> +<span class="i0">And I am nothing!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m3">Ah!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">Rules he not war</span><br /> +<span class="i0">And peace, finances, states? Makes he not laws,</span><br /> +<span class="i0">Edicts, mandates, and ordinances too?</span><br /> +<span class="i0">Through treachery he broke the Catholic league;</span><br /> +<span class="i0">He strikes the house of Austria—friendly</span><br /> +<span class="i0">To me—to which the Queen belongs.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m5">Ah, sire,</span><br /> +<span class="i0">He lets you keep a vivary within</span><br /> +<span class="i0">The Louvre. You have your share.</span> +</div> + +<p class="speaker">THE KING.</p> +<div class="dialog"> +<span class="m4">Then he intrigues</span><br /> +<span class="i0">With Denmark.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m2">But he let you fix the marc</span><br /> +<span class="i0">Among the jewelers.</span> +</div> + +<p class="speaker">THE KING (<i>whose ill-humor increases</i>).</p> + +<div class="dialog"> +<span class="m4">He fights with Rome!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">He let you issue an edict, alone,</span><br /> +<span class="i0">By which a citizen was not allowed</span><br /> +<span class="i0">To eat more than a crown's worth at a tavern,</span><br /> +<span class="i0">E'en though he wished to.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">All the treaties he</span><br /> +<span class="i0">Concludes in secret.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m3">Yes; but then you have</span><br /> +<span class="i0">Your hunting mansion at Planchette.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m5">All—all!</span><br /> +<span class="i0">He does it all! All with petitions rush</span><br /> +<span class="i0">To him! I'm but a shadow to the French!</span><br /> +<span class="i0">Is there a single one who comes to me</span><br /> +<span class="i0">For help?</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m2">Those who have the king's evil come.</span> +</div> + +<p class="staging">[<i>The anger of <span class="sc">The King</span> increases.</i></p> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">He means to give my order to his brother!</span><br /> +<span class="i0">I will not have it! I rebel.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m5">But, sire—</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">I am disgusted with his people!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m5">Sire!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">His niece, Combalet, leads a model life.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">'Tis slander, sire!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Two hundred foot-guards!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m5">But</span><br /> +<span class="i0">Only a hundred horse-guards!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">What a shame!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">He saves France, sire.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Does he? He damns my soul!</span><br /> +<span class="i0">With one arm fights the heathen, with the other</span><br /> +<span class="i0">He signs a compact with the Huguenots.</span> + +<p class="staging">[<i>Whispering to <span class="sc">Duke de Bellegarde</span>.</i></p> + +<span class="i0">Then, if I dared to count upon my hand</span><br /> +<span class="i0">The heads—the heads that fall for him at Grève!</span><br /> +<span class="i0">All friends of mine! His purple robes are made</span><br /> +<span class="i0">Of their hearts' blood! 'Tis he who forces me</span><br /> +<span class="i0">To wear eternal mourning.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m4">Treats he his own</span><br /> +<span class="i0">More kindly? Did he spare Saint Preuil?</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m5">He has</span><br /> +<span class="i0">A bitter tenderness, they say, for those</span><br /> +<span class="i0">He loves. He must love me tremendously!</span> + +<p class="staging">[<i>Abruptly, after a pause, folding his arms.</i></p> + +<span class="i0">He has exiled my mother!</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="m4">But he thinks</span><br /> +<span class="i0">He does your will. He's faithful. He is firm</span><br /> +<span class="i0">And sure.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m2">I hate him! He is in my way.</span><br /> +<span class="i0">He crushes me! I am not master here—</span><br /> +<span class="i0">Not free! And yet I might be something. Ah,</span><br /> +<span class="i0">When he walks o'er me with such heavy tread,</span><br /> +<span class="i0">Does he not fear to rouse a slumbering king?</span><br /> +<span class="i0">For trembling near me, be it ne'er so high,</span><br /> +<span class="i0">His fortune vacillates with every breath</span><br /> +<span class="i0">I draw, and all would crumble at a word,</span><br /> +<span class="i0">Did I wish loud, what I wish in my heart!</span> + +<p class="staging">[<i>A pause.</i></p> + +<span class="i0">That man makes good men bad, and bad men vile!</span><br /> +<span class="i0">The kingdom, like the king, already sick,</span><br /> +<span class="i0">Grows worse. Without is cardinal, within</span><br /> +<span class="i0">Is cardinal; no king is anywhere!</span><br /> +<span class="i0">He torments Austria, lets any one</span><br /> +<span class="i0">Capture my vessels in Gascony's Bay.</span><br /> +<span class="i0">Allies me with Gustavus Adolphus!</span><br /> +<span class="i0">What more? I do not know. He's everywhere:</span><br /> +<span class="i0">As if he were soul of the king, he fills</span><br /> +<span class="i0">My kingdom, and my family, and me.</span><br /> +<span class="i0">I am much to be pitied. [Going to window.</span><br /> +<span class="m4">Always rain.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE.</p> + +<div class="dialog"> +<span class="i0">Your Majesty is suffering?</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">I am bored.</span> + +<p class="staging">[<i>A pause.</i></p> + +<span class="i0">I am the first in France and yet the last!</span><br /> +<span class="i0">I'd change my lot to lead a poacher's life—</span><br /> +<span class="i0">To hunt all day; to have no cares to fret</span><br /> +<span class="i0">The pleasures of the chase; to sleep 'neath trees;</span><br /> +<span class="i0">To laugh at the King's officers, to sing</span><br /> +<span class="i0">During the storm; to live as freely in the woods</span><br /> +<span class="i0">As birds live in the air. The peasant in</span><br /> +<span class="i0">His hut, at least, is master and is king;</span><br /> +<span class="i0">But with that scarlet man forever there,</span><br /> +<span class="i0">Forever stern and cold, and speaking thus,</span><br /> +<span class="i0">"This must be your good pleasure, sire!" Oh, outrage!</span><br /> +<span class="i0">This man conceals me from my people's gaze.</span><br /> +<span class="i0">As with young children, he hides me beneath</span><br /> +<span class="i0">His robe; and when a passer-by asks, "Who</span><br /> +<span class="i0">Is that behind the Cardinal?" they say,</span><br /> +<span class="i0">"The King!" Then there are new lists every day.</span><br /> +<span class="i0">Last week the Huguenots; the duelists</span><br /> +<span class="i0">To-day! He wants their heads. Such a great crime—</span><br /> +<span class="i0">A duel! But the heads; what does he do</span><br /> +<span class="i0">With them?</span> +</div> + +<p class="staging">[<i><span class="sc">Duke de Bellegarde</span> stamps his foot. Enter <span class="sc">Marquis de Nangis</span> and +<span class="sc">Marion</span>.</i></p> + + +<h4>SCENE VII</h4> + +<p class="scene"><i>The same. <span class="sc">Marion</span>, <span class="sc">Marquis de Nangis</span>. <span class="sc">Marquis de Nangis</span> advances +with his escort to within a few steps of <span class="sc">The King</span>; he kneels there. +<span class="sc">Marion</span> falls on her knees at the door</i></p> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m2">Justice, my sire.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Against whom? Speak!</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="i0">Against a cruel tyrant—against Armand,</span><br /> +<span class="i0">Called here the cardinal-minister!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">Mercy,</span><br /> +<span class="i0">My sire!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m2">For whom?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">For Didier!</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m4">And for him,</span><br /> +<span class="i0">Gaspard de Saverny!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">I've heard those names.</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="i0">Justice and mercy, sire!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">What title?</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m5">Sire,</span><br /> +<span class="i0">I am uncle of one.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">And you?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">I'm sister</span><br /> +<span class="i0">Unto the other!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Why do you come here,</span><br /> +<span class="i0">Sister and uncle?</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS (<i>indicating first one of <span class="sc">The King's</span> hands, then the other</i>).</p> + +<div class="dialog"> +<span class="m4">To entreat mercy</span><br /> +<span class="i0">From this hand, and justice from that! My sire,</span><br /> +<span class="i0">I, William, Marquis de Nangis, Captain</span><br /> +<span class="i0">Of Hundred Lances, Baron of Mountain</span><br /> +<span class="i0">And Field, do make appeal to my two lords—</span><br /> +<span class="i0">The King of France and God, for justice 'gainst</span><br /> +<span class="i0">Armand du Plessis, Cardinal Richelieu.</span><br /> +<span class="i0">Gaspard de Saverny, for whom I make</span><br /> +<span class="i0">This prayer, is my nephew—</span> +</div> + +<p class="speaker">MARION (<i>low to <span class="sc">Marquis de Nangis</span></i>).</p> + +<div class="dialog"> +<span class="m4">Oh, speak for both,</span><br /> +<span class="i0">My lord!</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS (<i>continuing</i>).</p> + +<div class="dialog"> +<span class="m2">Last month he had a duel with</span><br /> +<span class="i0">A captain, a young nobleman, Didier.</span><br /> +<span class="i0">Of parentage uncertain. 'Twas a fault.</span><br /> +<span class="i0">They were too rash and brave. The minister</span><br /> +<span class="i0">Had stationed sergeants—</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Yes, I know the story.</span><br /> +<span class="i0">Well, what have you to say?</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m4">That 'tis high time</span><br /> +<span class="i0">You thought about these things! The Cardinal-Duke</span><br /> +<span class="i0">Has more than one disastrous scheme afoot.</span><br /> +<span class="i0">He drinks the best blood of your subjects, sire!</span><br /> +<span class="i0">Your father, Henry IV., of royal heart,</span><br /> +<span class="i0">Would not have sacrificed his nobles thus!</span><br /> +<span class="i0">He never struck them down without dire need!</span><br /> +<span class="i0">Well served by them, he sought to guard them well.</span><br /> +<span class="i0">He knew good soldiers had more use in them</span><br /> +<span class="i0">Than trunkless heads. He knew their worth in war,</span><br /> +<span class="i0">This soldier-king whose doublet smelled of battle!</span><br /> +<span class="i0">Great days were those. I shared, I honor them!</span><br /> +<span class="i0">A few of the old race are living yet.</span><br /> +<span class="i0">Never could priest have touched one of those lords.</span><br /> +<span class="i0">There was no selling of a great head cheap!</span><br /> +<span class="i0">Sire, in these treacherous days to which we've come,</span><br /> +<span class="i0">Trust an old man, keep a few nobles by.</span><br /> +<span class="i0">Perhaps, in your turn, you will need their help.</span><br /> +<span class="i0">The time may come when you will groan to think</span><br /> +<span class="i0">Of all the honors lavished on La Grève!</span><br /> +<span class="i0">Then, sadly, your regretful eyes will seek</span><br /> +<span class="i0">Those lords indomitably brave and true,</span><br /> +<span class="i0">Who, dead so long, had still been young to-day.</span><br /> +<span class="i0">The country's heart yet pants with civil war;</span><br /> +<span class="i0">The tocsin of past years re-echoes yet,</span><br /> +<span class="i0">Be saving of the executioner's arm!</span><br /> +<span class="i0">He is the one should sheathe his sword, not we!</span><br /> +<span class="i0">Be miserly with scaffolds, O my sire!</span><br /> +<span class="i0">'Twill be a woful thing some later day</span><br /> +<span class="i0">To mourn this great man's help, who hangs to-day</span><br /> +<span class="i0">A whitening skeleton on gallows-tree!</span><br /> +<span class="i0">For blood, my king, is no good, wholesome dew.</span><br /> +<span class="i0">You'll reap no crops from irrigated Grève!</span><br /> +<span class="i0">The people will avoid the sight of kings.</span><br /> +<span class="i0">That flattering voice which tells you all is well,</span><br /> +<span class="i0">Tells you you're son of Henry IV., and Bourbon—</span><br /> +<span class="i0">That voice, my sire, however high it soars,</span><br /> +<span class="i0">Can never drown the thud of falling heads!</span><br /> +<span class="i0">Take my advice: play not this costly game.</span><br /> +<span class="i0">You, King, are bound to look God in the face,</span><br /> +<span class="i0">Hark to the words of fate, ere it rebels!</span><br /> +<span class="i0">War is a nobler thing than massacre!</span><br /> +<span class="i0">'Tis not a prosperous nor joyful State</span><br /> +<span class="i0">When headsmen have more work than soldiers have!</span><br /> +<span class="i0">He for our country is a pastor hard,</span><br /> +<span class="i0">Who dares collect his tithes in slaughtered heads!</span><br /> +<span class="i0">Look! this proud lord of inhumanity</span><br /> +<span class="i0">Who holds your scepter has blood-covered hands!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">The Cardinal's my friend! Who loves me must</span><br /> +<span class="i0">Love him!</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m2">Sire!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Silence! He's my second self.</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="i0">Sire!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m2">Bring no more such griefs to trouble me!</span> + +<p class="staging">[<i>Showing his hair, which is beginning to turn gray.</i></p> + +<span class="i0">Petitioners like you make these gray hairs!</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="i0">An old man, sire; a woman, sire, who weeps!</span><br /> +<span class="i0">A word from you is life or death for us!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">What do you ask?</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m3">Pardon for my Gaspard!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Pardon for Didier!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Pardons of a king</span><br /> +<span class="i0">Are often thefts from justice!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">Oh, no, sire!</span><br /> +<span class="i0">Since God himself is merciful, you need</span><br /> +<span class="i0">Not fear! Have pity! Two young, thoughtless men,</span><br /> +<span class="i0">Pushed by this duel o'er a precipice</span><br /> +<span class="i0">To die! Good God! to die upon the gallows!</span><br /> +<span class="i0">You will have pity, won't you? I don't know</span><br /> +<span class="i0">How people talk to kings—I'm but a woman;</span><br /> +<span class="i0">To weep so much perhaps is wrong. But oh,</span><br /> +<span class="i0">A monster is that cardinal of yours.</span><br /> +<span class="i0">Why does he hate them? They did naught to him.</span><br /> +<span class="i0">He never saw my Didier. All who do</span><br /> +<span class="i0">Must love him! They're so young—these two! To die</span><br /> +<span class="i0">For just a duel! Think about their mothers.</span><br /> +<span class="i0">Oh, it is horrible! You will not do it, sire!</span><br /> +<span class="i0">We women cannot talk as well as men.</span><br /> +<span class="i0">We've only cries and tears and knees, which bend</span><br /> +<span class="i0">And totter as kings turn their eyes on us.</span><br /> +<span class="i0">They were in fault, of course! But if they broke</span><br /> +<span class="i0">Your law, you can forgive it! What is youth?</span><br /> +<span class="i0">Young people are so heedless! For a look,</span><br /> +<span class="i0">A word, a trifle, anything or nothing,</span><br /> +<span class="i0">They always lose their heads like that! Such things</span><br /> +<span class="i0">Are happening every day. Each noble, here,</span><br /> +<span class="i0">He knows it. Ask them, sire! Is it not true,</span><br /> +<span class="i0">My lords? Oh, frightful hour of agony!</span><br /> +<span class="i0">To know with one word you can save two lives!</span><br /> +<span class="i0">I'd love you all my life, sire, if you would</span><br /> +<span class="i0">Have mercy—mercy, God! If I knew how,</span><br /> +<span class="i0">I'd talk so that you'd have to say that word.</span><br /> +<span class="i0">You'd pardon them; you'd say, "I must console</span><br /> +<span class="i0">That woman, for her Didier is her soul."</span><br /> +<span class="i0">I suffocate, sire. Pity, pity me!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">Who is this woman?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">She's a sister, sire,</span><br /> +<span class="i0">Who trembles at your feet. You owe something</span><br /> +<span class="i0">Unto your people!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Yes! I owe myself</span><br /> +<span class="i0">To them, and dueling does grievous harm.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">You should have pity!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">And obedience, too!</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="i0">Two boys of twenty years! Think of it well!</span><br /> +<span class="i0">Their years together are but half of mine!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Your Majesty, you have a mother, wife,</span><br /> +<span class="i0">A son—some one at least who's dear to you!</span><br /> +<span class="i0">A brother? Then have pity for a sister!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">No, I have not a brother! [<i>Reflects a moment.</i></span><br /> +<span class="m4">Yes, <i>Monsieur</i>!</span> + +<p class="staging">[<i>Perceiving the escort of <span class="sc">Marquis de Nangis</span>.</i></p> + +<span class="i0">Well, my lord marquis, what is this brigade?</span><br /> +<span class="i0">Are we besieged, or off to the Crusades?</span><br /> +<span class="i0">To bring your guards thus boldly in my sight,</span><br /> +<span class="i0">Are you a duke and peer?</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS.</p> + +<div class="dialog"> +<span class="m4">I'm better, sire,</span><br /> +<span class="i0">Than any duke and peer, created for mere show!</span><br /> +<span class="i0">I'm Breton baron of four baronies.</span> +</div> + +<p class="speaker">DUKE DE BELLEGARDE (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">His pride is great, and here, unfortunate!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">Good! To your manors carry back your rights,</span><br /> +<span class="i0">And leave us ours within our own domain.</span><br /> +<span class="i0">We are justiciary!</span> +</div> + +<p class="speaker">MARQUIS DE NANGIS (<i>shuddering</i>).</p> + +<div class="dialog"> +<span class="m4">Sire, reflect!</span><br /> +<span class="i0">Think of their age, their expiated fault!</span> + +<p class="staging">[<i>Falling on his knees.</i></p> + +<span class="i0">The pride of an old man, who, prostrate, kneels!</span><br /> +<span class="i0">Have mercy!</span> + +<p class="staging">[<i><span class="sc">The King</span> makes an abrupt sign of anger and refusal.</i></p> + +<span class="m3">I was comrade to Henry!</span><br /> +<span class="i0">Your father and our father! I was there</span><br /> +<span class="i0">When he—that monster—struck the fatal blow.</span><br /> +<span class="i0">'Til night I watched beside my royal dead:</span><br /> +<span class="i0">It was my duty. I have seen my father</span><br /> +<span class="i0">And my six brothers fall 'neath rival factions;</span><br /> +<span class="i0">I have lost the wife who loved me. Now</span><br /> +<span class="i0">The old man standing here is like a victim</span><br /> +<span class="i0">Whom a hard executioner, for sport,</span><br /> +<span class="i0">Has bound unto the wheel the whole long day.</span><br /> +<span class="i0">My master, God has broken every limb</span><br /> +<span class="i0">With His great iron rod! 'Tis night-time now,</span><br /> +<span class="i0">And I've received the final blow! Farewell,</span><br /> +<span class="i0">My king! God keep you!</span> +</div> + +<p class="staging">[<i>He makes a profound obeisance, and exits. <span class="sc">Marion</span> lifts herself with +difficulty, and, staggering, falls on the threshold of the gilt door of +<span class="sc">The King's</span> private room.</i></p> + +<p class="speaker">THE KING (<i>to <span class="sc">Duke de Bellegarde</span>, wiping his eyes and watching the retreating figure of <span class="sc">Marquis de Nangis</span></i>).</p> + +<div class="dialog"> +<span class="m3">A sad interview!</span><br /> +<span class="i0">Ah, not to weaken, kings must watch themselves!</span><br /> +<span class="i0">To do right is not easy. I was touched.</span> + +<p class="staging">[<i>Reflects for a moment, then interrupts himself suddenly.</i></p> + +<span class="i0">No pardoning to-day, for yesterday</span><br /> +<span class="i0">I sinned too much!</span> + +<p class="staging">[<i>Approaching <span class="sc">Duke de Bellegarde</span>.</i></p> + +<span class="m3">Before he came, my lord,</span><br /> +<span class="i0">You said bold things, which may be bad for you</span><br /> +<span class="i0">When I report to my lord cardinal</span><br /> +<span class="i0">The conversation we have had. I'm sorry</span><br /> +<span class="i0">For you, Duke. In the future, have more care!</span><br /> +<span class="i0">I slept so wretchedly, my poor Bellegarde.</span> + +<p class="staging">[<i>With a gesture dismissing Courtiers and Guards.</i></p> + +<span class="i0">Pray leave us, gentlemen!</span><br /> +<span class="m2">[<i>To <span class="sc">L'Angely</span>.</i>] Stay, you!</span> +</div> + +<p class="staging">[<i>All go out except <span class="sc">Marion</span>, whom <span class="sc">The King</span> does not see. <span class="sc">Duke de +Bellegarde</span> sees her crouching on the threshold of the door and goes to +her.</i></p> + +<p class="speaker">DUKE DE BELLEGARDE (<i>low to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m5">My child,</span><br /> +<span class="i0">You can't remain here, crouching by this door;</span><br /> +<span class="i0">What are you doing like a statue there?</span><br /> +<span class="i0">Get up and go away!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">I'm waiting here</span><br /> +<span class="i0">For them to kill me!</span> +</div> + +<p class="speaker">L'ANGELY (<i>low to <span class="sc">Duke de Bellegarde</span></i>).</p> + +<div class="dialog"> +<span class="m3">Leave her there, my lord!</span><br /> +<span class="i0">[<i>Low to <span class="sc">Marion</span>.</i>] Remain!</span> +</div> + +<p class="staging">[<i>He returns to <span class="sc">The King</span>, who is seated in the great armchair and is +in a profound reverie.</i></p> + + +<h4>SCENE VIII</h4> + +<p class="scene sc">The King, L'Angely</p> + +<p class="speaker">THE KING (<i>sighing deeply</i>).</p> + +<div class="dialog"> +<span class="m2">Ah! L'Angely, my heart is sick.</span><br /> +<span class="i0">'Tis full of bitterness. I cannot smile.</span><br /> +<span class="i0">You, only, have the power to cheer me. Come!</span><br /> +<span class="i0">You stand in no awe of my majesty.</span><br /> +<span class="i0">Come, throw a glint of pleasure in my soul.</span> +</div> + +<p class="staging">[<i>A pause.</i></p> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Life is a bitter thing, your Majesty.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">Alas!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m2">Man is a breath ephemeral!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">A breath, and nothing more!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m4">Unfortunate</span><br /> +<span class="i0">Is any one who is both man and king.</span><br /> +<span class="i0">Is it not true?</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">A double burden—yes.</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">And better far than life, sire, is the tomb,</span><br /> +<span class="i0">If but its gloom is deep enough!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m5">I've thought</span><br /> +<span class="i0">That always!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m2">To be dead or unborn is</span><br /> +<span class="i0">The only happiness. Yes, man's condemned!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">You give me pleasure when you talk like this!</span> +</div> + +<p class="staging">[<i>A silence.</i></p> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Once in the tomb, think you one e'er gets out?</span> +</div> + +<p class="speaker">THE KING (<i>whose sadness has increased with the Fool's words</i>).</p> + +<div class="dialog"> +<span class="i0">We'll know that later. I wish I were there!</span> + +<p class="staging">[<i>Silence.</i></p> + +<span class="i0">Fool, I'm unhappy! Do you comprehend?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">I see it in your face so thin and worn,</span><br /> +<span class="i0">And in your mourning—</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">Ah, why should I laugh?</span><br /> +<span class="i0">Your tricks are lost on me! What use is life</span><br /> +<span class="i0">To you? The fine profession! Jester to the King!</span><br /> +<span class="i0">Bell out of tune, a jumping-jack to play with,</span><br /> +<span class="i0">Whose half-cracked laugh is but a poor grimace!</span><br /> +<span class="i0">What is there in the world for you, poor toy?</span><br /> +<span class="i0">Why do you live?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m3">For curiosity.</span><br /> +<span class="i0">But you—why should you live? I pity you!</span><br /> +<span class="i0">I'd sooner be a woman than a king</span><br /> +<span class="i0">Like you. I'm but a jumping-jack whose string</span><br /> +<span class="i0">You hold; but underneath your royal coat</span><br /> +<span class="i0">There's hid a tauter string, a strong arm holds.</span><br /> +<span class="i0">Better a jumping-jack in a king's hands</span><br /> +<span class="i0">Than in a priest's, my sire.</span> +</div> + +<p class="staging">[<i>Silence.</i></p> + +<p class="speaker">THE KING (<i>thinking, growing more and more sad</i>).</p> + +<div class="dialog"> +<span class="m4">You speak the truth,</span><br /> +<span class="i0">Although you laugh. He is a fearful man!</span><br /> +<span class="i0">Has Satan made himself a cardinal?</span><br /> +<span class="i0">What if 'twere Satan who possessed my soul!</span><br /> +<span class="i0">What say you?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m2">I have often had that thought</span><br /> +<span class="i0">Myself!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m2">We must not speak thus. 'Tis a sin!</span><br /> +<span class="i0">Behold, how dire misfortune follows me!</span><br /> +<span class="i0">I had some Spanish cormorants. I come</span><br /> +<span class="i0">To this place—not a drop of water here</span><br /> +<span class="i0">For fishing! In the country! Not a pond</span><br /> +<span class="i0">In this accursed Chambord large enough</span><br /> +<span class="i0">To drown a flesh-worm! When I wish to hunt—</span><br /> +<span class="i0">The sea! And when I wish to fish—the fields!</span><br /> +<span class="i0">Am I unfortunate enough?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m5">Your life</span><br /> +<span class="i0">Is full of woe.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">How will you comfort me?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Another grief! You hold in high esteem,</span><br /> +<span class="i0">And justly too, the art of training hawks</span><br /> +<span class="i0">For hunting partridges. A good huntsman—</span><br /> +<span class="i0">You're one—ought to respect the falconer.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">The falconer! A god!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m4">Well! there are two</span><br /> +<span class="i0">Who are at point of death!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">Two falconers?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Yes!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m2">Who are they?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m4">Two famous ones!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m5">But who?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Those two young men whose lives were begged of you!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">Gaspard and Didier?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m3">Yes; they are the last.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">What a calamity! Two falconers!</span><br /> +<span class="i0">Now that the art is very nearly lost.</span><br /> +<span class="i0">Unhappy duel! When I'm dead, this art</span><br /> +<span class="i0">Will go from earth, as all things go at last!</span><br /> +<span class="i0">Why did they fight this duel?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m4">One declared</span><br /> +<span class="i0">That hawks upon the wing were not as swift</span><br /> +<span class="i0">As falcons.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m2">He was wrong. But yet that seems</span><br /> +<span class="i0">Scarcely a hanging matter— [<i>Silence.</i></span><br /> +<span class="m4">And my right</span><br /> +<span class="i0">Of pardon is inviolable—though</span><br /> +<span class="i0">I am too lenient, says the Cardinal! [<i>Silence.</i></span><br /> +<span class="i0">[<i>To <span class="sc">L'Angely</span>.</i>] The Cardinal desires their death?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m5">He does!</span> +</div> + +<p class="speaker">THE KING (<i>after pausing and reflecting</i>).</p> + +<div class="dialog"> +<span class="i0">Then they shall die!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m3">They shall!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">Poor falconry!</span> +</div> + +<p class="speaker">L'ANGELY (<i>going to window</i>).</p> + +<div class="dialog"> +<span class="i0">Sire, look!</span> +</div> + +<p class="speaker">THE KING (<i>turns around suddenly</i>).</p> + +<div class="dialog"> +<span class="m2">At what?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m3">Just look, I beg of you!</span> +</div> + +<p class="speaker">THE KING (<i>rising and going to the window</i>).</p> + +<div class="dialog"> +<span class="i0">What is it?</span> +</div> + +<p class="speaker">L'ANGELY (<i>indicating something outside</i>).</p> + +<div class="dialog"> +<span class="m2">They have changed the sentinel!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">Well, is that all?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m3">Who is that fellow with</span><br /> +<span class="i0">The yellow lace?</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">No one—the corporal!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">He puts a new man there. What says he, low?</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">The password! Fool! What are you driving at?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">At this: Kings act the part of sentinels.</span><br /> +<span class="i0">Instead of pikes, a scepter they must bear.</span><br /> +<span class="i0">When they have strutted 'round their little day,</span><br /> +<span class="i0">Death comes—the corporal of kings—and puts</span><br /> +<span class="i0">Another scepter-bearer in their place,</span><br /> +<span class="i0">Speaking the password which God sends, and which</span><br /> +<span class="i0">Is clemency.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">No, it is justice. Ah,</span><br /> +<span class="i0">Two falconers! It is a frightful loss!</span><br /> +<span class="i0">Still, they must die.</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m3">As you must die, and I.</span><br /> +<span class="i0">Or big or little, death has appetite</span><br /> +<span class="i0">For all. But though they've not much room,</span><br /> +<span class="i0">The dead sleep well. The Cardinal annoys</span><br /> +<span class="i0">And wearies you. Wait, sire! A day, a month,</span><br /> +<span class="i0">A year; when we have played as long as needful—</span><br /> +<span class="i0">I, my own part of fool; you, king; and he,</span><br /> +<span class="i0">The master—we will go to sleep. No matter</span><br /> +<span class="i0">How proud or great we are, no one shall have</span><br /> +<span class="i0">More than six feet of territory there.</span><br /> +<span class="i0">Look! how they bear his lordly litter now!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">Yes, life is dark; the tomb alone is bright.</span><br /> +<span class="i0">If you were not at hand to cheer me up—</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Alas! I came to-day to say farewell.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">What's that?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m2">I leave you!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m3">You're a crazy fool!</span><br /> +<span class="i0">Death, only, frees from royal service.</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m5">Well,</span><br /> +<span class="i0">I am about to die!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">Have you gone mad?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">You have condemned me—you, the King of France!</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">If you are joking, fool, explain yourself.</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">I shared the duel of those two young men—</span><br /> +<span class="i0">At least my sword did, sire, if I did not.</span><br /> +<span class="i0">I here surrender it.</span> +</div> + +<p class="staging">[<i>Draws his sword and, kneeling, presents it to <span class="sc">The King</span>.</i></p> + +<p class="speaker">THE KING (<i>takes it and examines it</i>).</p> + +<div class="dialog"> +<span class="m4">Indeed, a sword!</span><br /> +<span class="i0">Where does it come from, friend?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m4">We're noble, sire!</span><br /> +<span class="i0">The guilty are not pardoned. I am one.</span> +</div> + +<p class="speaker">THE KING (<i>somber and stern</i>).</p> + +<div class="dialog"> +<span class="i0">Good night, then! Let me kiss your neck, poor fool,</span><br /> +<span class="i0">Before they cut it off. [<i>Embraces <span class="sc">L'Angely</span>.</i></span> +</div> + +<p class="speaker">L'ANGELY (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m4">He's in dead earnest!</span> +</div> + +<p class="speaker">THE KING (<i>after a pause</i>).</p> + +<div class="dialog"> +<span class="i0">For never does a worthy king oppose</span><br /> +<span class="i0">The course of justice. But you claim too much,</span><br /> +<span class="i0">Lord Cardinal—two falconers and my fool!</span><br /> +<span class="i0">All for one duel!</span> + +<p class="staging">[<i>Greatly agitated, he walks up and down with his hand on his forehead. +Then he turns to <span class="sc">L'Angely</span>, who is most anxious.</i></p> + +<span class="m3">Go! console yourself!</span><br /> +<span class="i0">Life is but bitterness, the tomb means rest.</span><br /> +<span class="i0">Man is a breath ephemeral.</span> +</div> + +<p class="speaker">L'ANGELY (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m5">The devil!</span> +</div> + +<p class="staging">[<i><span class="sc">The King</span> continues to pace the floor and appears violently +agitated.</i></p> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">And so, you think you'll have to hang, poor fool!</span> +</div> + +<p class="speaker">L'ANGELY (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">He means it! God! I feel cold perspiration</span><br /> +<span class="i0">Starting upon my brow.</span><br /> +<span class="m3">[<i>Aloud.</i>] Unless a word</span><br /> +<span class="i0">From you—</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m2">Whom shall I have to make me laugh?</span><br /> +<span class="i0">If you should rise from out the tomb, come back</span><br /> +<span class="i0">And tell me all about it. 'Tis a chance!</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">The errand is a pleasant one!</span> +</div> + +<p class="staging">[<i><span class="sc">The King</span> continues to walk rapidly, speaking to <span class="sc">L'Angely</span> now and +then.</i></p> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m5">What triumph</span><br /> +<span class="i0">For my lord cardinal—my fool!</span> + +<p class="staging">[<i>Folding his arms.</i></p> + +<span class="m5">Think you</span><br /> +<span class="i0">I could be master if I wished to be?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Montaigne would say, "Who knows?" And Rabelais,</span><br /> +<span class="i0">"Perhaps."</span> +</div> + +<p class="speaker">THE KING (<i>with gesture of determination</i>).</p> + +<div class="dialog"> +<span class="m2">Give me a parchment, fool.</span> + +<p class="staging">[<i><span class="sc">L'Angely</span> eagerly hands a parchment which he finds on the table near +the writing-desk. <span class="sc">The King</span> hastily writes a few words, then gives the +parchment back to <span class="sc">L'Angely</span>.</i></p> + +<span class="m5">Behold!</span><br /> +<span class="i0">I pardon all.</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m3">All three?</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="m4">Yes.</span> +</div> + +<p class="speaker">L'ANGELY (<i>running to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m5">Come, madame,</span><br /> +<span class="i0">Come, kneel, and thank the King.</span> +</div> + +<p class="speaker">MARION (<i>falling on her knees</i>).</p> + +<div class="dialog"> +<span class="m4">We have the pardon?</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Yes! It was I—</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Whose knees must I embrace—</span><br /> +<span class="i0">His Majesty's or yours?</span> +</div> + +<p class="speaker">THE KING (<i>astonished, examining <span class="sc">Marion</span>: aside</i>).</p> + +<div class="dialog"> +<span class="m4">What does this mean?</span><br /> +<span class="i0">Is this a trap?</span> +</div> + +<p class="speaker">L'ANGELY (<i>giving parchment to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m3">Here is the pardon. Take it!</span> +</div> + +<p class="staging">[<i><span class="sc">Marion</span> kisses it, and puts it in her bosom.</i></p> + +<p class="speaker">THE KING (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">Have I been duped?</span><br /> +<span class="m2">[<i>To <span class="sc">Marion</span>.</i>] One instant! Give it back!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Good God!</span> + +<p class="staging">[<i>To <span class="sc">The King</span>, with courage, touching her breast.</i></p> + +<span class="m2">Come here and take it, and tear out</span><br /> +<span class="i0">My heart as well!</span> +</div> + +<p class="staging">[<i><span class="sc">The King</span> stops and steps backward, much embarrassed.</i></p> + +<p class="speaker">L'ANGELY (<i>low to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m3">Good! Keep it, and be firm!</span><br /> +<span class="i0">His Majesty won't take it, there!</span> +</div> + +<p class="speaker">THE KING (<i>to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m5">Give it</span><br /> +<span class="i0">To me!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Take it, my sire!</span> +</div> + +<p class="speaker">THE KING (<i>casting down his eyes</i>).</p> + +<div class="dialog"> +<span class="m4">Who is this siren?</span> +</div> + +<p class="speaker">L'ANGELY (<i>low to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="i0">He wouldn't touch the corset of the Queen!</span> +</div> + +<p class="speaker">THE KING (<i>after a moment's hesitation, dismisses <span class="sc">Marion</span> with a gesture without looking at her</i>).</p> + +<div class="dialog"> +<span class="i0">Well, go!</span> +</div> + +<p class="speaker">MARION (<i>bowing profoundly to <span class="sc">The King</span></i>).</p> + +<div class="dialog"> +<span class="m2">I'll fly to save the prisoners! [<i>Exits.</i></span> +</div> + +<p class="speaker">L'ANGELY (<i>to <span class="sc">The King</span></i>).</p> + +<div class="dialog"> +<span class="i0">She's sister to Didier, the falconer.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">She can be what she will. It's very strange,</span><br /> +<span class="i0">The way she made me drop my eyes! Made me,</span><br /> +<span class="i0">A man— [<i>Silence.</i></span><br /> +<span class="m2">Fool, you have played a trick on me!</span><br /> +<span class="i0">I'll have to pardon you a second time.</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="i0">Yes, do it! Every time they grant a pardon,</span><br /> +<span class="i0">Kings lift a dreary weight from off their hearts.</span> +</div> + +<p class="speaker">THE KING.</p> + +<div class="dialog"> +<span class="i0">You speak the truth. I always suffer when</span><br /> +<span class="i0">La Grève holds court. Nangis was right: the dead</span><br /> +<span class="i0">Serve nobody. To fill Montfaucon</span><br /> +<span class="i0">I make a desert of the Louvre!</span> + +<p class="staging">[<i>Walking rapidly.</i></p> + +<span class="m5">'Tis treason</span><br /> +<span class="i0">To strike my right of pardon out, before</span><br /> +<span class="i0">My face. What can I do? Disarmed, dethroned,</span><br /> +<span class="i0">And fallen: in this man absorbed, as in</span><br /> +<span class="i0">A sepulcher! His cloak becomes my shroud:</span><br /> +<span class="i0">My people mourn for me as for the dead.</span><br /> +<span class="i0">I am resolved: those two boys shall not die!</span><br /> +<span class="i0">The joy of living is a heavenly gift.</span> + +<p class="staging">[<i>After reflection.</i></p> + +<span class="i0">God, who knows where we go, can ope the tomb;</span><br /> +<span class="i0">A king cannot. Back to their families</span><br /> +<span class="i0">I give them; that old man, that fair young girl,</span><br /> +<span class="i0">Will bless me. It is said: I've signed it—I,</span><br /> +<span class="i0">The King. The Cardinal will be furious,</span><br /> +<span class="i0">But it will please Bellegarde.</span> +</div> + +<p class="speaker">L'ANGELY.</p> + +<div class="dialog"> +<span class="m4">One can, sometimes,</span><br /> +<span class="i0">Be kingly by mistake.</span> +</div> + + + + +<h3>ACT V</h3> + +<p class="center">THE CARDINAL</p> + +<p><span class="sc">Scene.</span>—<i>Beaugency. The tower of Beaugency. A courtyard; the tower in +the background, all around a high wall. To the left, a tall arched door; +to the right, a small rounded door in the wall; near the door a stone +table and stone bench</i></p> + + +<h4>SCENE I</h4> + +<p class="scene"><i>Some Workmen. They are pulling down a corner of the back wall on the +left. The demolition is almost completed</i></p> + +<p class="speaker">FIRST WORKMAN (<i>working with his pickax</i>).</p> + +<div class="dialog"> +<span class="m4">It's very hard!</span> +</div> + +<p class="speaker">SECOND WORKMAN (<i>working</i>).</p> + +<div class="dialog"> +<span class="i0">Deuce take this heavy wall we're pulling down!</span> +</div> + +<p class="speaker">THIRD WORKMAN (<i>working</i>).</p> + +<div class="dialog"> +<span class="i0">Saw you the scaffold, Peter?</span> +</div> + +<p class="speaker">FIRST WORKMAN.</p> + +<div class="dialog"> +<span class="m4">Yes, I did.</span> + +<p class="staging">[<i>He goes to the large door and measures it.</i></p> + +<span class="i0">The door is narrow; never will the litter</span><br /> +<span class="i0">Of the Lord Cardinal go through it.</span> +</div> + +<p class="speaker">THIRD WORKMAN.</p> + +<div class="dialog"> +<span class="m5">Bah!</span><br /> +<span class="i0">Is it a house?</span> +</div> + +<p class="speaker">FIRST WORKMAN (<i>with affirmative gesture</i>).</p> + +<div class="dialog"> +<span class="m3">With great long curtains. Yes.</span><br /> +<span class="i0">It takes some four and twenty men on foot</span><br /> +<span class="i0">To carry it.</span> +</div> + +<p class="speaker">SECOND WORKMAN.</p> + +<div class="dialog"> +<span class="m3">I saw the great machine,</span><br /> +<span class="i0">One night when it was very dark. It looked</span><br /> +<span class="i0">Just like Leviathan in shadow-land.</span> +</div> + +<p class="speaker">THIRD WORKMAN.</p> + +<div class="dialog"> +<span class="i0">What does he come here with his sergeants for?</span> +</div> + +<p class="speaker">FIRST WORKMAN.</p> + +<div class="dialog"> +<span class="i0">To see the execution of those two young men.</span><br /> +<span class="i0">He's sick. He needs to be amused.</span> +</div> + +<p class="speaker">SECOND WORKMAN.</p> + +<div class="dialog"> +<span class="m5">To work!</span> + +<p class="staging">[<i>They resume work; the wall is about torn down.</i></p> + +<span class="i0">Saw you the scaffold, all in black? That comes</span><br /> +<span class="i0">Of being noble!</span> +</div> + +<p class="speaker">FIRST WORKMAN.</p> + +<div class="dialog"> +<span class="m3">They have everything.</span> +</div> + +<p class="speaker">SECOND WORKMAN.</p> + +<div class="dialog"> +<span class="m5">I wonder</span><br /> +<span class="i0">If they would build a black scaffold for us.</span> +</div> + +<p class="speaker">FIRST WORKMAN.</p> + +<div class="dialog"> +<span class="i0">What have those young men done that they should die?</span><br /> +<span class="i0">Hein? Do you understand, Maurice?</span> +</div> + +<p class="speaker">THIRD WORKMAN.</p> + +<div class="dialog"> +<span class="m5">I don't.</span><br /> +<span class="i0">It's justice.</span> +</div> + +<p class="staging">[<i>They continue their work. <span class="sc">Laffemas</span> enters; <span class="sc">The Workmen</span> are silent. +He comes from the back as though he were coming from an inside court of +the prison; stops beside <span class="sc">The Workmen</span>, appears to examine the breach, +and gives them some directions. When the space is opened, he orders +them to hang black cloth across it, which covers it entirely; then he +dismisses them. At almost the same moment <span class="sc">Marion</span> appears, dressed in +white, and veiled; she enters through the great door, crosses the court +rapidly, and runs to the grating of the small door, at which she knocks. +<span class="sc">Laffemas</span> follows slowly in the same direction. The grating is opened; +<span class="sc">The Turnkey</span> appears.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene sc">Marion, Laffemas</p> + + +<p class="speaker">MARION (<i>showing a parchment to <span class="sc">The Turnkey</span></i>).</p> + +<div class="dialog"> +<span class="m2">Order of the King!</span> +</div> + +<p class="speaker">THE TURNKEY.</p> + +<div class="dialog"> +<span class="m5">You can't</span><br /> +<span class="i0">Enter, madame.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">What!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>presenting a paper to <span class="sc">The Turnkey</span></i>).</p> + +<div class="dialog"> +<span class="m4">Signed, the Cardinal!</span> +</div> + +<p class="speaker">THE TURNKEY.</p> + +<div class="dialog"> +<span class="i0">Enter.</span> +</div> + +<p class="staging">[<i>When about to enter, <span class="sc">Laffemas</span> turns, looks at <span class="sc">Marion</span> a moment, +then approaches her. <span class="sc">The Turnkey</span> shuts the door.</i></p> + +<p class="speaker">LAFFEMAS (<i>to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="m2">You here? This questionable place!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">I am. [<i>Triumphantly showing the parchment.</i></span><br /> +<span class="m2">I have the pardon!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>showing his</i>).</p> + +<div class="dialog"> +<span class="m4">Yes? I have</span><br /> +<span class="i0">The revocation!</span> +</div> + +<p class="speaker">MARION (<i>with a cry of horror</i>).</p> + +<div class="dialog"> +<span class="m3">Mine was yesterday—</span><br /> +<span class="i0">The morning!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">Mine, last night!</span> +</div> + +<p class="speaker">MARION (<i>with hands over her eyes</i>).</p> + +<div class="dialog"> +<span class="m4">My God! No hope!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">Hope is a flash of lightning which deceives.</span><br /> +<span class="i0">The clemency of kings is a frail thing;</span><br /> +<span class="i0">It comes with lagging steps and goes with wings.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">The King was moved with pity for their fate!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">What can the King against the Cardinal?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Oh, Didier, our last hope's extinguished now!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>low</i>).</p> + +<div class="dialog"> +<span class="i0">Not—not the last!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Just Heaven!</span> +</div> + +<p class="speaker">LAFFEMAS (<i>drawing near to her</i>).</p> + +<div class="dialog"> +<span class="m4">There is here</span><br /> +<span class="i0">A man whom one short word from you could make</span><br /> +<span class="i0">Happier than any king, and mightier too!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Away!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">Is that your answer?</span> +</div> + +<p class="speaker">MARION (<i>haughtily</i>).</p> + +<div class="dialog"> +<span class="m4">I beg you!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">How fleeting are the whims of the fair sex!</span><br /> +<span class="i0">You were not always, madame, so severe!</span><br /> +<span class="i0">Now that 'tis question of your lover's life—</span> +</div> + +<p class="speaker">MARION (<i>without looking at him, turning to the small door, her hands clasped</i>).</p> + +<div class="dialog"> +<span class="i0">If it would save your life, I could not go</span><br /> +<span class="i0">Back to that infamy. My soul's grown pure</span><br /> +<span class="i0">At touch of you, my Didier; sin is shamed.</span><br /> +<span class="i0">Your love gives back my lost virginity.</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">Well, love him!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Ah, he pushes me from crime</span><br /> +<span class="i0">To vice! Oh, monster, go! Let me keep pure!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="i0">There is but one thing left for me to do!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">What is it?</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">I can show you—let you see.</span><br /> +<span class="i0">It is to-night.</span> +</div> + +<p class="speaker">MARION (<i>trembling all over</i>).</p> + +<div class="dialog"> +<span class="m3">Oh, heaven! this night!</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m5">This night</span><br /> +<span class="i0">The Cardinal, in litter, will attend.</span> +</div> + +<p class="staging">[<i><span class="sc">Marion</span> is buried in a deep and painful reverie. Suddenly she passes +her two hands over her brow and turns, as if wild, toward <span class="sc">Laffemas</span>.</i></p> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">How could you manage their escape?</span> +</div> + +<p class="speaker">LAFFEMAS (<i>low</i>).</p> + +<div class="dialog"> +<span class="m5">You mean?</span><br /> +<span class="i0">Two of my men could guard this place, by which</span><br /> +<span class="i0">The Cardinal passes—</span> + +<p class="staging">[<i>He listens at the small door.</i></p> + +<span class="m3">I think some one comes!</span> +</div> + +<p class="speaker">MARION (<i>wringing her hands</i>).</p> + +<div class="dialog"> +<span class="i0">You'll save him?</span> +</div> + +<p class="speaker">LAFFEMAS.</p> + +<div class="dialog"> +<span class="m2">Yes.</span><br /> +<span class="m2">[<i>Low.</i>] To tell you in this place—</span><br /> +<span class="i0">The walls have echoes—elsewhere.</span> +</div> + +<p class="speaker">MARION (<i>with despair</i>).</p> + +<div class="dialog"> +<span class="m4">Come!</span> +</div> + +<p class="staging">[<i><span class="sc">Laffemas</span> goes toward the large door and signs to her to follow. She +falls on her knees, turned toward the grating of the prison; then she +arises with a convulsive effort and disappears through the great door +after <span class="sc">Laffemas</span>. <span class="sc">Saverny</span> and <span class="sc">Didier</span> enter, surrounded by Guards.</i></p> + + +<h4>SCENE III</h4> + +<p class="scene"><i><span class="sc">Didier</span>, <span class="sc">Saverny</span>. <span class="sc">Saverny</span>, dressed in the latest fashion, enters +gayly and petulantly. <span class="sc">Didier</span> is in black, walks slowly, is very pale. +A jailer accompanied by Halberdiers conducts them. <span class="sc">The Jailer</span> places +the two Halberdiers as sentinels beside the black curtain. <span class="sc">Didier</span> +sits, silently, on the stone bench</i></p> + + +<p class="speaker">SAVERNY (<i>to <span class="sc">The Jailer</span>, who opens the door for him</i>).</p> + +<div class="dialog"> +<span class="m5">Thank you.</span><br /> +<span class="i0">The air is very good!</span> +</div> + +<p class="speaker">THE JAILER (<i>low, and drawing him aside</i>).</p> + +<div class="dialog"> +<span class="m3">My lord, two words with you.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Four, if you like.</span> +</div> + +<p class="speaker">THE JAILER (<i>lowering his voice still more</i>).</p> + +<div class="dialog"> +<span class="m3">Will you escape?</span> +</div> + +<p class="speaker">SAVERNY (<i>eagerly</i>).</p> + +<div class="dialog"> +<span class="m5">Speak! How?</span> +</div> + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="i0">That's my affair.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">Truly? [<i><span class="sc">The Jailer</span> nods his head.</i></span><br /> +<span class="m4">Lord Cardinal,</span><br /> +<span class="i0">You meant to keep me from attending balls,</span><br /> +<span class="i0">But it appears I am to dance again.</span><br /> +<span class="i0">The pleasant thing that life is!</span><br /> +<span class="m3">[<i>To <span class="sc">The Jailer</span>.</i>] When, my friend?</span> +</div> + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="i0">To-night, as soon as it is dark.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">My faith!</span><br /> +<span class="i0">I shall be charmed to leave these quarters. Whence</span><br /> +<span class="i0">Comes this assistance?</span> +</div> + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="m4">Marquis de Nangis.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">My good old uncle!</span><br /> +<span class="i0">[<i>To <span class="sc">The Jailer</span>.</i>] 'Tis for both, I hope!</span> +</div> + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="i0">I can save only one!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">For twice as much?</span> +</div> + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="i0">I can save only one!</span> +</div> + +<p class="speaker">SAVERNY (<i>tossing his head</i>).</p> + +<div class="dialog"> +<span class="m4">Just one?</span><br /> +<span class="m2">[<i>Low to <span class="sc">The Jailer</span>.</i>] Then listen;</span><br /> +<span class="i0">Good jailer, that's the one to save!</span> +</div> + +<p class="staging">[<i>Indicating <span class="sc">Didier</span>.</i></p> + + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="m5">You jest!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">I do not! He's the one!</span> +</div> + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="m4">What an idea!</span><br /> +<span class="i0">Your uncle wants to save you, not save him.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">It's settled? Then prepare two shrouds at once.</span> + +<p class="staging">[<i>Turns his back on <span class="sc">The Jailer</span>, who goes out, astonished. <span class="sc">A +Registrar</span> enters.</i></p> + +<span class="i0">We can't be left alone an instant—strange!</span> +</div> + +<p class="speaker">REGISTRAR (<i>saluting the prisoners</i>).</p> + +<div class="dialog"> +<span class="i0">The royal councilor of the Great Chamber</span><br /> +<span class="i0">Is close at hand.</span> +</div> + +<p class="staging">[<i>Salutes them again and exits.</i></p> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">'Tis well! [<i>Laughing.</i></span><br /> +<span class="m4">Annoying luck!</span><br /> +<span class="i0">Twenty years old—September—and to die</span><br /> +<span class="i0">Before October!</span> +</div> + +<p class="speaker">DIDIER (<i>motionless at front of stage, holding the portrait in his hand, and as if absorbed in a deep study of it</i>).</p> + +<div class="dialog"> +<span class="m3">Come, look at me well!</span><br /> +<span class="i0">Eyes in my eyes: thus. You are beautiful!</span><br /> +<span class="i0">What radiant grace! Hardly a woman, you!</span><br /> +<span class="i0">No: much more like an angel. God Himself</span><br /> +<span class="i0">When He formed that divinely honest look</span><br /> +<span class="i0">Put much fire in it but more chastity.</span><br /> +<span class="i0">That childish mouth, pushed open by sweet hopes,</span><br /> +<span class="i0">Throbs with its innocence.</span> + +<p class="staging">[<i>Throwing the portrait violently to the ground.</i></p> + +<span class="m4">Why did that peasant</span><br /> +<span class="i0">Take me unto her breast? Why not have dashed</span><br /> +<span class="i0">My head against the stones? What did I do</span><br /> +<span class="i0">Unto my mother to be cursed with birth?</span><br /> +<span class="i0">Why, in that misery, it may be crime,</span><br /> +<span class="i0">Which forced her to abandon her own blood,</span><br /> +<span class="i0">Had she not motherhood enough to choke</span><br /> +<span class="i0">Me in her arms?</span> +</div> + +<p class="speaker">SAVERNY (<i>returning from back of court</i>).</p> + +<div class="dialog"> +<span class="m3">The swallows fly quite low;</span><br /> +<span class="i0">'Twill rain to-night.</span> +</div> + +<p class="speaker">DIDIER (<i>without hearing him</i>).</p> + +<div class="dialog"> +<span class="m3">A faithless, a mad thing,</span><br /> +<span class="i0">A woman is: inconstant, cruel, deep,</span><br /> +<span class="i0">And turbulent as is the ocean. Ah,</span><br /> +<span class="i0">Upon that sea I trusted all my fortune!</span><br /> +<span class="i0">In all the vast horizon saw one star!</span><br /> +<span class="i0">Well! I am shipwrecked! Nothing's left but death.</span><br /> +<span class="i0">Yet I was born good-hearted: might have found</span><br /> +<span class="i0">The spark divine within me by-and-by.</span><br /> +<span class="i0">Fair looked the future! Oh, remorseless woman,</span><br /> +<span class="i0">Did you not shrink in face of such a lie,</span><br /> +<span class="i0">Since to your mercy I trusted my soul?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Forever Marion! You've strange ideas</span><br /> +<span class="i0">About her!</span> +</div> + +<p class="speaker">DIDIER (<i>without heeding him, picks up the picture and fixes his eyes upon it</i>).</p> + +<div class="dialog"> +<span class="m2">Down 'mongst the degraded things</span><br /> +<span class="i0">I must throw you, oh, woman who betrays!</span><br /> +<span class="i0">A demon, with eyes touched by angels' wings.</span> + +<p class="staging">[<i>Puts it back into his breast.</i></p> + +<span class="i0">Come back; here is your place!</span><br /> +<span class="m2">[<i>Approaching <span class="sc">Saverny</span>.</i>] A curious thing!</span><br /> +<span class="i0">That portrait is alive; I do not jest.</span><br /> +<span class="i0">While you were sleeping there so peacefully</span><br /> +<span class="i0">It gnawed my heart all night.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">Alas! poor friend.</span><br /> +<span class="i0">We'll talk of death.</span><br /> +<span class="m3">[<i>Aside.</i>] It comforts him, although</span><br /> +<span class="i0">I find it rather sad.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">What did you say?</span><br /> +<span class="i0">I have not listened. Since I heard that name</span><br /> +<span class="i0">I have been stupefied. I cannot think:</span><br /> +<span class="i0">I can't remember, cannot hear nor see!</span> +</div> + +<p class="speaker">SAVERNY (<i>taking hold of his arm</i>).</p> + +<div class="dialog"> +<span class="i0">Death, friend!</span> +</div> + +<p class="speaker">DIDIER (<i>joyfully</i>).</p> + +<div class="dialog"> +<span class="m2">Oh, yes!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">Let's talk about it.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Yes!</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">What is it, after all?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Did you sleep well</span><br /> +<span class="i0">Last night?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m2">No, badly, for my bed was hard.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">When you are dead, your bed will be much harder,</span><br /> +<span class="i0">But you will sleep extremely well—that's all.</span><br /> +<span class="i0">They've made hell splendidly; but by the side</span><br /> +<span class="i0">Of life, it's nothing.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">Good! My fears are gone!</span><br /> +<span class="i0">But to be hanged! That certainly is bad.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">You're getting death; don't be an egotist.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">You can be satisfied; but I am not.</span><br /> +<span class="i0">I'm not afraid of death—that is no boast—</span><br /> +<span class="i0">When death is death, but on the gallows!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Well,</span><br /> +<span class="i0">Death has a thousand forms—gallows are one.</span><br /> +<span class="i0">That moment is not pleasant when the rope</span><br /> +<span class="i0">Puts out your life as one puts out a flame,</span><br /> +<span class="i0">Choking your throat to let your soul fly up;</span><br /> +<span class="i0">But, after all, what matter? If all's dark,</span><br /> +<span class="i0">If only all this earth is hidden well,</span><br /> +<span class="i0">What matter if a tomb lies on one's breast?</span><br /> +<span class="i0">What matter if the night-winds howl and blow</span><br /> +<span class="i0">About the strings of flesh crows tore from you</span><br /> +<span class="i0">When you were on the gibbet? What care you?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">You're a philosopher.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Yes, let them rave.</span><br /> +<span class="i0">Let vultures tear my flesh, let worms consume,</span><br /> +<span class="i0">As they consume all, even kings; my body</span><br /> +<span class="i0">Is what's concerned, not I. What do I care?</span><br /> +<span class="i0">When sepulchers shut down our mortal eye,</span><br /> +<span class="i0">The soul lifts up the mighty mass of stone</span><br /> +<span class="i0">And flies away—</span> +</div> + +<p class="staging">[<i>A Councilor enters, preceded and followed by Halberdiers in black.</i></p> + + +<h4>SCENE IV</h4> + +<p class="scene"><i>The same. <span class="sc">Councilor of the Great Chamber</span>, in full dress, <span class="sc">The +Jailer</span>, Guards</i></p> + +<p class="speaker">THE JAILER (<i>announcing</i>).</p> + +<div class="dialog"> +<span class="m3">The Councilor of the King!</span> +</div> + +<p class="speaker">COUNCILOR (<i>saluting <span class="sc">Saverny</span> and <span class="sc">Didier</span> in turn</i>).</p> + +<div class="dialog"> +<span class="i0">My mission's painful and the law severe—</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">I understand: there is no hope! Speak, sir!</span> +</div> + +<p class="speaker">COUNCILOR (<i>unfolds a parchment and reads</i>).</p> + +<div class="dialog"> +<span class="i0">"We, Louis, King of France and of Navarre,</span><br /> +<span class="i0">Reject appeals made by these men condemned,</span><br /> +<span class="i0">But moved by pity, change the punishment</span><br /> +<span class="i0">And order them beheaded."</span> +</div> + +<p class="speaker">SAVERNY (<i>joyfully</i>).</p> + +<div class="dialog"> +<span class="m4">God be praised!</span> +</div> + +<p class="speaker">COUNCILOR (<i>saluting them once more</i>).</p> + +<div class="dialog"> +<span class="i0">You are to hold yourselves in readiness;</span><br /> +<span class="i0">It will take place to-day.</span> +</div> + +<p class="staging">[<i>He salutes and prepares to exit.</i></p> + + +<p class="speaker">DIDIER (<i>who has remained in the same thoughtful attitude, to <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="m4">As I was saying,</span><br /> +<span class="i0">After this death, although the corpse be mangled,</span><br /> +<span class="i0">Though every limb be stamped with hideous wounds,</span><br /> +<span class="i0">Though arms be twisted, broken every bone,</span><br /> +<span class="i0">Though through the mire the body has been dragged,</span><br /> +<span class="i0">From out that putrid, bleeding, awful flesh</span><br /> +<span class="i0">The soul shall rise, unstained, untouched, and pure.</span> +</div> + +<p class="speaker">COUNCILOR (<i>coming back, to <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="i0">'Tis well to occupy yourselves with such</span><br /> +<span class="i0">Great thoughts.</span> +</div> + +<p class="speaker">DIDIER (<i>gently</i>).</p> + +<div class="dialog"> +<span class="m2">Please do not interrupt me, sir.</span> +</div> + +<p class="speaker">SAVERNY (<i>gayly to <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="i0">No gallows!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">Order of the fête is changed,</span><br /> +<span class="i0">I know. The Cardinal travels with his headsman,</span><br /> +<span class="i0">And he must be employed; the ax will rust.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">You're cool about it, yet the stake is great.</span><br /> +<span class="i0">[<i>To <span class="sc">The Councilor</span>.</i>] Thank you for such good news.</span> +</div> + +<p class="speaker">COUNCILOR.</p> + +<div class="dialog"> +<span class="m4">I wish 'twere better!</span><br /> +<span class="i0">Good sir, my zeal—</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">Excuse me. What's the hour?</span> +</div> + +<p class="speaker">COUNCILOR.</p> + +<div class="dialog"> +<span class="i0">At nine o'clock to-night.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">I hope the sky</span><br /> +<span class="i0">Will be as dark as is my soul.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">The place?</span> +</div> + +<p class="speaker">COUNCILOR (<i>indicating the neighboring court</i>).</p> + +<div class="dialog"> +<span class="i0">Here in the court. The Cardinal will come.</span> +</div> + +<p class="staging">[<i><span class="sc">Councilor</span> exits with his escort. The two prisoners remain alone. Day +begins to fade. The halberds of the two sentinels, who silently +promenade before the breach, are all that can be seen.</i></p> + +<p class="speaker">DIDIER (<i>solemnly, after a pause</i>).</p> + +<div class="dialog"> +<span class="i0">At this portentous hour we must reflect</span><br /> +<span class="i0">Upon the fate awaiting us. Our years</span><br /> +<span class="i0">Are equal, though I'm older far than you.</span><br /> +<span class="i0">It is but just, therefore, that mine should be</span><br /> +<span class="i0">The voice to cheer and to exhort you, since</span><br /> +<span class="i0">I am the cause of all your misery.</span><br /> +<span class="i0">'Twas I who challenged you. You were content</span><br /> +<span class="i0">And happy: 'twas enough for me to pass</span><br /> +<span class="i0">Across your life to ruin it. My fate</span><br /> +<span class="i0">Pressed down upon yours 'til it crushed it. Now,</span><br /> +<span class="i0">Together, we are soon to face the tomb.</span><br /> +<span class="i0">We'll take each other's hand—</span> +</div> + +<p class="staging">[<i>Sound of hammering.</i></p> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m4">What is that noise?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">It is our scaffold which they're building, or</span><br /> +<span class="i0">Our coffins they are nailing.</span> + +<p class="staging">[<i><span class="sc">Saverny</span> sits on the stone bench.</i></p> + +<span class="m4">When the hour</span><br /> +<span class="i0">Has tolled, sometimes the heart of man gives way.</span><br /> +<span class="i0">Life holds us in a thousand secret ways.</span> + +<p class="staging">[<i>A bell strikes.</i></p> + +<span class="i0">I think a voice is calling to us. Hark!</span> +</div> + +<p class="staging">[<i>Another bell.</i></p> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">The hour is striking.</span> +</div> + +<p class="staging">[<i>A third bell.</i></p> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Yes, the hour!</span> +</div> + +<p class="staging">[<i>A fourth bell.</i></p> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m5">In chapel!</span> +</div> + +<p class="staging">[<i>Four more bells.</i></p> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">It is a voice that calls us, just the same.</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="i0">Another hour!</span> +</div> + +<p class="staging">[<i>He leans his elbows on the stone table and drops his head on his +hands. The Guard is changed.</i></p> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">My friend, do not give way!</span><br /> +<span class="i0">Don't falter on this threshold we must cross.</span><br /> +<span class="i0">The tomb they're fitting up for us is low,</span><br /> +<span class="i0">And won't permit the entrance of a head.</span><br /> +<span class="i0">Let's go to meet them with a fearless tread.</span><br /> +<span class="i0">The scaffold can afford to shake, not we.</span><br /> +<span class="i0">They claim our heads; and since no fault is ours,</span><br /> +<span class="i0">We'll bear them proudly to the fatal block.</span> + +<p class="staging">[<i>Approaches <span class="sc">Saverny</span>, who is motionless.</i></p> + +<span class="i0">Courage!</span> + +<p class="staging">[<i>Touches his arm and finds he is asleep.</i></p> + +<span class="m2">Asleep! While I've been preaching courage</span><br /> +<span class="i0">This man has slept! What is my bravery</span><br /> +<span class="i0">Compared to his? Sleep on, you who can sleep.</span><br /> +<span class="i0">My turn will come—provided all things die,</span><br /> +<span class="i0">That nothing of the heart survives within</span><br /> +<span class="i0">The tomb, to hate what it has loved too much.</span> +</div> + +<p class="staging">[<i>It is night. While <span class="sc">Didier</span> has become absorbed in his thoughts, +<span class="sc">Marion</span> and <span class="sc">The Jailer</span> enter through the opening in the wall; <span class="sc">The +Jailer</span> precedes her. He carries a dark-lantern and a bundle, both of +which he places on the ground, then advances cautiously toward <span class="sc">Marion</span>, +who has remained standing on the threshold, pale, motionless, half-wild.</i></p> + + +<h4>SCENE VI</h4> + +<p>[The scenes are mis-numbered in the book and skip from the number IV to the number VI in Act V. (note of etext transcriber)] + +<p class="scene"><i>The same.</i> <span class="sc">Marion</span>, <span class="sc">The Jailer</span></p> + + +<p class="speaker">THE JAILER (<i>to <span class="sc">Marion</span>.</i>)</p> + +<div class="dialog"> +<span class="i0">Be sure to come at the appointed hour.</span> +</div> + +<p class="staging">[<i>Goes up stage; during the rest of this scene he continues to walk up +and down at the back.</i></p> + +<p class="speaker">MARION (<i>advances with tottering steps as if absorbed in some desperate thought. Every now and then she draws her hand across her face as if to rub off something</i>).</p> + +<div class="dialog"> +<span class="i0">His lips, like red-hot iron, have branded me!</span> + +<p class="staging">[<i>Suddenly she discovers <span class="sc">Didier</span>, gives a cry, runs and throws herself +breathless at his feet.</i></p> + +<span class="i0">Didier—Didier!</span> +</div> + +<p class="speaker">DIDIER (<i>roused with a start</i>).</p> + +<div class="dialog"> +<span class="m3">Here, Marion! My God!</span><br /> +<span class="i0">[<i>Coldly.</i>] 'Tis you?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Who should it be? Oh, leave me here—</span><br /> +<span class="i0">Here at your feet! It is the place I love!</span><br /> +<span class="i0">Your hands, your dear loved hands, give them—your hands!</span><br /> +<span class="i0">Oh, they are wounded! Those harsh chains did that.</span><br /> +<span class="i0">The wretched creatures! But I'm here—you know—</span><br /> +<span class="i0">Oh, it is terrible! [<i>She weeps; her sobs are audible.</i></span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Why do you weep?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Why? Didier, I'm not weeping! No, I laugh!</span> + +<p class="staging">[<i>She laughs.</i></p> + +<span class="i0">We'll soon escape from here! I laugh. I'm happy.</span><br /> +<span class="i0">You will live; the danger's passed.</span> + +<p class="staging">[<i>She falls again at <span class="sc">Didier's</span> feet and sobs.</i></p> + +<span class="m5">My God!</span><br /> +<span class="i0">All this is killing me! I'm broken—crushed.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Madame—</span> +</div> + +<p class="speaker">MARION (<i>rises, without hearing him, and gets the bundle and brings it to him</i>).</p> + +<div class="dialog"> +<span class="m2">Now hurry! We have not much time!</span><br /> +<span class="i0">Take this disguise. I've bribed the sentinels.</span><br /> +<span class="i0">We'll leave Beaugency without being seen.</span><br /> +<span class="i0">Go down that street, at the wall's end, out there!</span><br /> +<span class="i0">The Cardinal will come to see them execute</span><br /> +<span class="i0">His orders; we can't lose an instant now.</span><br /> +<span class="i0">The cannon will be fired when he arrives,</span><br /> +<span class="i0">And we'll be lost if we should still be here.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">'Tis well!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Quick! hurry! Didier, you are saved!</span><br /> +<span class="i0">To be free! Didier, how I love you—God!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">You say a street where the wall ends?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">I do.</span><br /> +<span class="i0">I saw it. I've been there. It is quite safe.</span><br /> +<span class="i0">I saw them close up the last window, too.</span><br /> +<span class="i0">It may be we shall meet some women, but</span><br /> +<span class="i0">They'll think you're just a passer-by. Come, love;</span><br /> +<span class="i0">When you are far off—please put on these things—</span><br /> +<span class="i0">We'll laugh to see you thus disguised. Come, dear!</span> +</div> + +<p class="speaker">DIDIER (<i>pushing the clothes aside with his foot</i>).</p> + +<div class="dialog"> +<span class="i0">There is no hurry.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Death waits at the door.</span><br /> +<span class="i0">Fly! Didier! Since I've come!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Why did you come?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">To save you! What a question to ask me!</span><br /> +<span class="i0">Why such a freezing tone?</span> +</div> + +<p class="speaker">DIDIER (<i>with a sad smile</i>).</p> + +<div class="dialog"> +<span class="m4">Ah, well! We men</span><br /> +<span class="i0">Are often senseless.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">We are losing time.</span><br /> +<span class="i0">The horses wait. What you have in your mind,</span><br /> +<span class="i0">You'll tell me afterward. We must fly now.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Who is that man there watching us?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">The jailer.</span><br /> +<span class="i0">He's safe; I bribed him, as I did the guard.</span><br /> +<span class="i0">Do you suspect them? You have such an air.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">It's nothing. We're so easily deceived.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Come! Each lost moment chills me to the heart.</span><br /> +<span class="i0">I seem to hear the tread of that great crowd.</span><br /> +<span class="i0">Hasten, my Didier—on my knees—oh, fly!</span> +</div> + +<p class="speaker">DIDIER (<i>indicating <span class="sc">Saverny</span>, asleep</i>).</p> + +<div class="dialog"> +<span class="i0">Tell me which one of us you want to save.</span> +</div> + +<p class="speaker">MARION (<i>overcome for a moment</i>).</p> + +<div class="dialog"> +<span class="i0">[<i>Aside.</i>] Gaspard is generous: he would not tell.</span><br /> +<span class="i0">[<i>Aloud.</i>] Does Didier speak to his beloved thus?</span><br /> +<span class="i0">My Didier, what have you against me?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Naught.</span><br /> +<span class="i0">Lift up your face and look me in the eyes.</span> + +<p class="staging">[<i><span class="sc">Marion</span>, trembling, fixes her eyes on him.</i></p> + +<span class="i0">It is a perfect likeness! Yes.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">My love,</span><br /> +<span class="i0">I worship you, but come!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Don't turn away!</span> + +<p class="staging">[<i>He looks at her fixedly.</i></p> +</div> + +<p class="speaker">MARION (<i>terrified at his look</i>).</p> + +<div class="dialog"> +<span class="i0">[<i>Aside.</i>] The kisses of that man, he sees them! God!</span><br /> +<span class="i0">[<i>Aloud.</i>] You have a secret, something against me!</span><br /> +<span class="i0">It hurts you! Tell me all about it, dear.</span><br /> +<span class="i0">You know we often make things worse by thinking,</span><br /> +<span class="i0">And too late find it out; then we regret.</span><br /> +<span class="i0">I had my share in all your thoughts, love, once!</span><br /> +<span class="i0">Speak, are those days for evermore gone by?</span><br /> +<span class="i0">Do you not love me now? Have you forgot</span><br /> +<span class="i0">My little room at Blois? Forgotten how</span><br /> +<span class="i0">We loved each other, till the world was lost?</span><br /> +<span class="i0">Sometimes you grew uneasy; then I said,</span><br /> +<span class="i0">"If any one should see him!" Oh, 'twas fine!</span><br /> +<span class="i0">But one day has destroyed it all. You've said</span><br /> +<span class="i0">A thousand times, in words that burned my soul,</span><br /> +<span class="i0">I was your love, I knew your secrets, I</span><br /> +<span class="i0">Could make you anything I chose. What have</span><br /> +<span class="i0">I ever asked? I've always thought with you!</span><br /> +<span class="i0">This time, oh, yield to me! It is your life</span><br /> +<span class="i0">I'm pleading for. My Didier, hark to me.</span><br /> +<span class="i0">Alive or dead, I swear to follow you.</span><br /> +<span class="i0">All things with you, love, will be sweet to me—</span><br /> +<span class="i0">To fly, or die upon the scaffold. What!</span><br /> +<span class="i0">You push me back? You shall not! Leave your hand,</span><br /> +<span class="i0">I want it. My poor brow, it does no harm</span><br /> +<span class="i0">To rest it on your knees. I am so tired;</span><br /> +<span class="i0">I ran so fast to come! What would they say,</span><br /> +<span class="i0">The people I knew once, to see me now?</span><br /> +<span class="i0">I was so gay, so merry; now I weep!</span><br /> +<span class="i0">What is it that you have against me? Speak!</span><br /> +<span class="i0">Oh, shame! You must let me lie at your feet.</span><br /> +<span class="i0">It's very cruel of you not to say</span><br /> +<span class="i0">One single word. When we have thoughts, we speak!</span><br /> +<span class="i0">'Twould be more merciful to stab me, love!</span><br /> +<span class="i0">See, I have dried my tears, and I am smiling.</span><br /> +<span class="i0">You smile too. Oh, if you don't smile at me,</span><br /> +<span class="i0">I will not love you! I have always done</span><br /> +<span class="i0">Just what you wanted; now it is your turn.</span><br /> +<span class="i0">These chains are what have chilled your soul. Love, smile</span><br /> +<span class="i0">And speak to me, and say "Marie."</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">"Marie"</span><br /> +<span class="i0">Or "Marion"?</span> +</div> + +<p class="speaker">MARION (<i>falls annihilated at his feet</i>).</p> + +<div class="dialog"> +<span class="m3">Didier, be merciful!</span> +</div> + +<p class="speaker">DIDIER (<i>with terrible tone</i>).</p> + +<div class="dialog"> +<span class="i0">Here, no one finds an entrance easily.</span><br /> +<span class="i0">Prisons of state are guarded night and day,</span><br /> +<span class="i0">The doors are iron, walls twenty cubits high;</span><br /> +<span class="i0">To open these remorseless doors, madame,</span><br /> +<span class="i0">To whom here did you prostitute yourself?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Who told you?</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">No one; but I understand.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Didier, I swear by every hope divine</span><br /> +<span class="i0">It was to save you, tear you from this place;</span><br /> +<span class="i0">To melt the executioner—to save you—</span><br /> +<span class="i0">Don't you hear?</span> +</div> + +<p class="speaker">DIDIER (<i>folding his arms</i>).</p> + +<div class="dialog"> +<span class="m4">I thank you! To descend</span><br /> +<span class="i0">As low as that! To have no shame, no soul!</span><br /> +<span class="i0">Oh, madame! can one be so infamous?</span> + +<p class="staging">[<i>Crossing the court with a great cry of rage.</i></p> + +<span class="i0">Who is this trader in disgrace and vice,</span><br /> +<span class="i0">Who puts a price like that upon my head?</span><br /> +<span class="i0">Where is the jailer, where the judge, the man?—</span><br /> +<span class="i0">That I may crush him as I crush this thing.</span> + +<p class="staging">[<i>He is about to break the portrait in his hands, but he stops, and +beside himself, continues.</i></p> + +<span class="i0">The judge? Yes, gentlemen, make laws and judge!</span><br /> +<span class="i0">What matters it to me if the false weight</span><br /> +<span class="i0">Which swings your vile scales to this side or that</span><br /> +<span class="i0">Be made of woman's honor or man's life?</span><br /> +<span class="i0">[<i>To <span class="sc">Marion</span>.</i>] Go to your lover!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">Do not treat me thus!</span><br /> +<span class="i0">Another word of scorn and I fall dead</span><br /> +<span class="i0">Here at your feet. If ever love was true</span><br /> +<span class="i0">And strong and pure, mine was. If any man</span><br /> +<span class="i0">Was ever worshiped by a woman, you</span><br /> +<span class="i0">Have been by me.</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Hush! Do not speak! I might,</span><br /> +<span class="i0">For sorrow, have been born a woman too.</span><br /> +<span class="i0">I might have been as infamous as you.</span><br /> +<span class="i0">I might have sold myself, have given my breast</span><br /> +<span class="i0">To any passer-by, as place for rest.</span><br /> +<span class="i0">But if there came to me, in his frank way,</span><br /> +<span class="i0">An honest man, filled with the love of truth,</span><br /> +<span class="i0">If I had met a heart insane enough</span><br /> +<span class="i0">To keep its vain illusions all these years,</span><br /> +<span class="i0">Oh, sooner than not tell that honest man</span><br /> +<span class="i0">"I'm this," sooner than charm and dazzle him,</span><br /> +<span class="i0">Sooner than fail to warn him that my eyes</span><br /> +<span class="i0">So candid and my lips so pure were lies,</span><br /> +<span class="i0">Sooner than be perfidious and base like that,</span><br /> +<span class="i0">I'd want to dig my grave with my own hands.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">O God!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m2">How you would laugh if you could see</span><br /> +<span class="i0">The picture that my heart painted of you!</span><br /> +<span class="i0">How wise you were to shatter it, madame!</span><br /> +<span class="i0">There you were chaste and beautiful and pure!</span><br /> +<span class="i0">What injury has this poor man done you,</span><br /> +<span class="i0">Who loved you on his bended knees?</span> + +<p class="staging">[<i>Presenting portrait to her.</i></p> + +<span class="m5">Perhaps</span><br /> +<span class="i0">This is a fitting time to give you back</span><br /> +<span class="i0">This pledge of love ardent and true.</span> +</div> + +<p class="speaker">MARION (<i>turning away with a cry</i>).</p> + +<div class="dialog"> +<span class="m5">Oh, shame!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Did you not have it painted just for me?</span> +</div> + +<p class="staging">[<i>He laughs, and dashes the locket to the ground.</i></p> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Will some one, out of pity, kill me now?</span> +</div> + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="i0">Time's passing.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Yes, it flies; and we are lost.</span><br /> +<span class="i0">Didier, I've not the right to say a single word.</span><br /> +<span class="i0">I am a woman to whom naught is due.</span><br /> +<span class="i0">You have rebuked and cursed me: you did well!</span><br /> +<span class="i0">I merit still more hate and shame. You've been</span><br /> +<span class="i0">Too kind; my broken, bruised heart is grateful.</span><br /> +<span class="i0">But the remorseless hour draws near. Away!</span><br /> +<span class="i0">The headsman you forget, remembers you.</span><br /> +<span class="i0">I've planned it all. You can escape. Now, listen—</span><br /> +<span class="i0">My God! do not refuse. You know how much</span><br /> +<span class="i0">It costs me. Hate me, strike me, curse me, leave</span><br /> +<span class="i0">Me to my shame, disown me, walk upon</span><br /> +<span class="i0">My bleeding heart—but fly!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Fly where? From whom?</span><br /> +<span class="i0">There's naught but you to fly from in this world;</span><br /> +<span class="i0">And I escape you, for the grave is deep.</span> +</div> + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="i0">The hour is passing.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m3">O my Didier, fly!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">I will not!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Just for pity!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">Pity! why?</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">To see you taken, bound! To see you—<i>there</i>!</span><br /> +<span class="i0">Only to think it makes me die of horror!</span><br /> +<span class="i0">Come! I will be a servant unto you.</span><br /> +<span class="i0">Come! Take me, when I have redeemed myself,</span><br /> +<span class="i0">Just to have something underneath your feet.</span><br /> +<span class="i0">The one you called "a wife" in times of trial—</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">A wife! [<i>Cannon sounds in the distance.</i></span><br /> +<span class="m2">This makes of you a widow, then!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">Didier!</span> +</div> + +<p class="speaker">THE JAILER.</p> + +<div class="dialog"> +<span class="m2">The hour is past.</span> +</div> + +<p class="staging">[<i>Rolling of drums. Enter <span class="sc">Councilor of the Great Chamber</span>, accompanied +by penitents bearing torches, and by <span class="sc">Executioner</span>. A crowd of soldiers +and people follow.</i></p> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">Ah, Christ!</span> +</div> + +<h4>SCENE VII</h4> + +<p class="scene"><i>The same. <span class="sc">Councilor</span>, <span class="sc">Executioner</span>, Populace, Soldiers</i></p> + +<p class="speaker">COUNCILOR.</p> + +<div class="dialog"> +<span class="m5">I'm ready,</span><br /> +<span class="i0">Gentlemen!</span> +</div> + +<p class="speaker">MARION (<i>to <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="m2">I told you that he'd come!</span> +</div> + +<p class="speaker">DIDIER (<i>to <span class="sc">Councilor</span></i>).</p> + +<div class="dialog"> +<span class="i0">We're ready also.</span> +</div> + +<p class="speaker">COUNCILOR.</p> + +<div class="dialog"> +<span class="m3">Which is named Gaspard,</span><br /> +<span class="i0">Marquis de Saverny?</span> + +<p class="staging">[<i><span class="sc">Didier</span> points to <span class="sc">Saverny</span>, who is asleep.</i></p> + +<span class="i0">[<i>To <span class="sc">Executioner</span>.</i>] Awaken him!</span> +</div> + +<p class="speaker">EXECUTIONER (<i>shaking him</i>).</p> + +<div class="dialog"> +<span class="i0">How well he sleeps, my lord!</span> +</div> + +<p class="speaker">SAVERNY (<i>rubbing his eyes</i>).</p> + +<div class="dialog"> +<span class="m4">Ah, how could you</span><br /> +<span class="i0">Break in on such a pleasant sleep!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">'Tis only</span><br /> +<span class="i0">Interrupted, friend!</span> +</div> + +<p class="speaker">SAVERNY (<i>half awake: sees <span class="sc">Marion</span> and salutes her</i>).</p> + +<div class="dialog"> +<span class="m4">Oh, I was dreaming</span><br /> +<span class="i0">About you, my beauty!</span> +</div> + +<p class="speaker">COUNCILOR.</p> + +<div class="dialog"> +<span class="m4">Have you made</span><br /> +<span class="i0">Your peace with God?</span> +</div> + +<p class="speaker">SAVERNY.</p> + +<div class="dialog"> +<span class="m3">I have, sir.</span> +</div> + +<p class="speaker">COUNCILOR.</p> + +<div class="dialog"> +<span class="m4">It is well.</span><br /> +<span class="i0">Please sign this paper!</span> +</div> + +<p class="speaker">SAVERNY (<i>takes the parchment, runs over it</i>).</p> + +<div class="dialog"> +<span class="m3">'Tis the <i>procès-verbal</i>.</span><br /> +<span class="i0">Good! This is a most curious thing—account</span><br /> +<span class="i0">Of my own death, signed with my autograph!</span> + +<p class="staging">[<i>Signs, and reads the paper again: to <span class="sc">Councilor</span>.</i></p> + +<span class="i0">You have made three mistakes in spelling, sir.</span> + +<p class="staging">[<i>Takes the pen and corrects them. To <span class="sc">Executioner</span>.</i></p> + +<span class="i0">You have awakened me; put me to sleep!</span> +</div> + +<p class="speaker">COUNCILOR (<i>to <span class="sc">Didier</span></i>).</p> + +<div class="dialog"> +<span class="i0">Didier!</span> + +<p class="staging">[<i><span class="sc">Didier</span> approaches: <span class="sc">Councilor</span> gives pen to him.</i></p> + +<span class="m2">Your name is there.</span> +</div> + +<p class="speaker">MARION (<i>hiding her eyes</i>).</p> + +<div class="dialog"> +<span class="m4">The grewsome thing!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">I could sign nothing with intenser joy!</span> +</div> + +<p class="staging">[<i>The Guards form themselves into a line to lead them away.</i></p> + +<p class="speaker">SAVERNY (<i>to some one in the crowd</i>).</p> + +<div class="dialog"> +<span class="i0">Sir, step aside and let that young child see!</span> +</div> + +<p class="speaker">DIDIER (<i>to <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="i0">My brother, 'tis for me you suffer death;</span><br /> +<span class="i0">Let us embrace each other! [<i>He embraces <span class="sc">Saverny</span>.</i></span> +</div> + +<p class="speaker">MARION (<i>running to him</i>).</p> + +<div class="dialog"> +<span class="m4">And for me</span><br /> +<span class="i0">No kisses, Didier!</span> +</div> + +<p class="speaker">DIDIER (<i>indicating <span class="sc">Saverny</span></i>).</p> + +<div class="dialog"> +<span class="m3">This is my friend, madame!</span> +</div> + +<p class="speaker">MARION (<i>clasping her hands</i>).</p> + +<div class="dialog"> +<span class="i0">How hard you are upon me, a poor thing,</span><br /> +<span class="i0">Who always on my knees to king or judge</span><br /> +<span class="i0">Have begged mercy for you from every one!</span><br /> +<span class="i0">Pardon of them for you; pardon of you for me!</span> +</div> + +<p class="speaker">DIDIER (<i>rushes to <span class="sc">Marion</span>, trembling, and bursting into tears</i>).</p> + +<div class="dialog"> +<span class="i0">No, I cannot! The torture's horrible!</span><br /> +<span class="i0">No, I have loved too much to leave her so!</span><br /> +<span class="i0">It is too hard to keep a cold, impassive face</span><br /> +<span class="i0">When underneath the heart is breaking down.</span><br /> +<span class="i0">Come to my arms, oh, woman, come!</span> + +<p class="staging">[<i>Presses her convulsively to his heart.</i></p> + +<span class="m5">I love you!</span><br /> +<span class="i0">I'm about to die. Before them all,</span><br /> +<span class="i0">It is my loftiest joy to tell you this:</span><br /> +<span class="i0">I love you!</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m2">Didier!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<p class="staging">[<i>Embraces her again with rapture.</i></p> + +<div class="dialog"> +<span class="m3">To my heart, oh, come!</span><br /> +<span class="i0">You who behold this direful tragedy,</span><br /> +<span class="i0">I wonder if there's one of you who would</span><br /> +<span class="i0">Refuse love unto one who'd given herself</span><br /> +<span class="i0">Entirely and unceasingly to him?</span><br /> +<span class="i0">Oh, I was wrong! Say, would you have me face</span><br /> +<span class="i0">Eternity without a pardon from</span><br /> +<span class="i0">Her lips? No! Stand by me and listen, love:</span><br /> +<span class="i0">Among all womankind—and those who hear</span><br /> +<span class="i0">Will prove me right by their own hearts—the one</span><br /> +<span class="i0">I love, the one in whom I trust, the one</span><br /> +<span class="i0">I venerate is you—is always you!</span><br /> +<span class="i0">For you were kind, devoted, loving, good.</span><br /> +<span class="i0">My life is almost ended. When death's near</span><br /> +<span class="i0">A clearer light illuminates all things.</span><br /> +<span class="i0">If you deceived me, 'twas excess of love;</span><br /> +<span class="i0">And if you fell, have you not cruelly atoned?</span><br /> +<span class="i0">Perhaps your mother—life's so hard—forgot</span><br /> +<span class="i0">You in your cradle, as my mother did;</span><br /> +<span class="i0">When you were young and helpless, perhaps they sold</span><br /> +<span class="i0">Your innocence. Ah, lift up your white brow!</span><br /> +<span class="i0">And listen, all of you. At such an hour</span><br /> +<span class="i0">The earth is a mere shadow and the heart</span><br /> +<span class="i0">Speaks true. Well, at this moment, from the height</span><br /> +<span class="i0">Of the dread scaffold—and there's naught so high</span><br /> +<span class="i0">When guiltless souls ascend it—here,</span><br /> +<span class="i0">I say to you, Marie, angel of light,</span><br /> +<span class="i0">Whose luster earth has dimmed, my love, my wife,</span><br /> +<span class="i0">In God's name, before whom I soon shall stand,</span><br /> +<span class="i0">I pardon you.</span> +</div> + +<p class="speaker">MARION (<i>suffocated with tears</i>).</p> + +<div class="dialog"> +<span class="m3">Ah, Christ!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m4">It is your turn.</span><br /> +<span class="i0">Speak now, and pardon me!</span> + +<p class="staging">[<i>He kneels before her.</i></p> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m4">Didier!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m5">Your pardon,</span><br /> +<span class="i0">Love! I was the most at fault, the most</span><br /> +<span class="i0">Unkind. God has chastised you much through me.</span><br /> +<span class="i0">Weep for me when I'm gone, because to have</span><br /> +<span class="i0">Hurt you is such a burden to take hence</span><br /> +<span class="i0">Into eternity. Don't leave it on me;</span><br /> +<span class="i0">Pardon me!</span> +</div> + +<p class="speaker">MARION (<i>inaudibly</i>).</p> + +<div class="dialog"> +<span class="m3">Have mercy on me—God!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="i0">Just speak one word; put your sweet hands upon</span><br /> +<span class="i0">My forehead. If your heart is full and you</span><br /> +<span class="i0">Can't speak, please make a sign. I'm dying; you</span><br /> +<span class="i0">Must comfort me.</span> + +<p class="staging">[<i><span class="sc">Marion</span> places her hand on his forehead; he rises, embraces her +tenderly, with a smile of celestial joy.</i></p> + +<span class="m3">Farewell! Come, gentlemen!</span><br /> +<span class="i0">Let us move on!</span> +</div> + +<p class="speaker">MARION (<i>throws herself wildly between him and the Soldiers</i>).</p> + +<div class="dialog"> +<span class="m3">Oh, no! Stop! This is madness!</span><br /> +<span class="i0">If you think you can behead him easily,</span><br /> +<span class="i0">You have forgotten I am here. Spare us!</span><br /> +<span class="i0">Oh, men! oh, soldiers, judge, people! Spare us!</span><br /> +<span class="i0">How do you want me to ask you? Upon</span><br /> +<span class="i0">My knees? Well, here I am! Now if</span><br /> +<span class="i0">In you there's anything that quivers at</span><br /> +<span class="i0">A woman's voice, if God has thrown no curse</span><br /> +<span class="i0">On you—don't kill him!</span><br /> +<span class="i0">[<i>To the spectators.</i>] Men and women—you!</span><br /> +<span class="i0">When you go back into your homes to-night,</span><br /> +<span class="i0">You'll find your mothers and your daughters; they</span><br /> +<span class="i0">Will say to you, "It was a wicked crime.</span><br /> +<span class="i0">You might have saved him, and you did not. Shame!"</span><br /> +<span class="i0">Didier, they ought to know that I must follow</span><br /> +<span class="i0">You! They will not kill you if they want</span><br /> +<span class="i0">To keep me living!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Let me die, Marie.</span><br /> +<span class="i0">'Tis better, dear one, for my wound is deep;</span><br /> +<span class="i0">It would have taken too much time to heal.</span><br /> +<span class="i0">Better for me to go; but if, some time—</span><br /> +<span class="i0">You see I'm weeping too—another comes,</span><br /> +<span class="i0">A happier man, more fortunate than I,</span><br /> +<span class="i0">Think of your old friend sleeping in the tomb.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="i0">You shall not die! Are these men all inhuman?</span><br /> +<span class="i0">You must live!</span> +</div> + +<p class="speaker">DIDIER.</p> + +<div class="dialog"> +<span class="m3">Don't ask things impossible.</span><br /> +<span class="i0">No; with your bright eyes, turn, illuminate</span><br /> +<span class="i0">My grave for me. Embrace me. You will love</span><br /> +<span class="i0">Me better, dead. I'll hold a sacred place</span><br /> +<span class="i0">In your dear memory. But if I lived,</span><br /> +<span class="i0">Lived near you with my lacerated soul—</span><br /> +<span class="i0">I, who have loved no one but you—you see</span><br /> +<span class="i0">It would be painful. I would make you weep.</span><br /> +<span class="i0">I'd have a thousand thoughts I could not speak.</span><br /> +<span class="i0">I'd seem to doubt you, watch you, worry you.</span><br /> +<span class="i0">You would be most unhappy. Let me die!</span> +</div> + +<p class="speaker">COUNCILOR (<i>to <span class="sc">Marion</span></i>).</p> + +<div class="dialog"> +<span class="i0">The Cardinal will pass by soon, madame!</span><br /> +<span class="i0">You can ask pardon for him then.</span> +</div> + +<p class="speaker">MARION.</p> + +<div class="dialog"> +<span class="m5">Oh, yes!</span><br /> +<span class="i0">The Cardinal is coming—that is true.</span><br /> +<span class="i0">You'll see, then, gentlemen, that he will hear!</span><br /> +<span class="i0">My Didier, you shall hear me talk to him!</span><br /> +<span class="i0">The Cardinal! Indeed, you must be all insane,</span><br /> +<span class="i0">To think such an old man—a Christian too,</span><br /> +<span class="i0">The gracious Cardinal—will not be glad</span><br /> +<span class="i0">To pardon you. Have you not pardoned me?</span> +</div> + +<p class="staging">[<i>Nine o'clock strikes. <span class="sc">Didier</span> makes sign to all to hush. <span class="sc">Marion</span> +listens with terror. After the nine strokes have sounded, <span class="sc">Didier</span> goes +and stands close to <span class="sc">Saverny</span>.</i></p> + +<p class="speaker">DIDIER (<i>to the spectators</i>).</p> + +<div class="dialog"> +<span class="i0">You who have come to see the last of us,</span><br /> +<span class="i0">If any speak of us, bear witness all,</span><br /> +<span class="i0">That without faltering we have heard the hour</span><br /> +<span class="i0">Bring us its summons to eternity.</span> +</div> + +<p class="staging">[<i>The cannon sounds at the door of the tower; the black veil which +concealed the opening in the wall, falls: the gigantic litter of <span class="sc">The +Cardinal</span> appears, borne by twenty-four foot-guards, surrounded by +twenty other guards bearing halberds and torches: the litter is scarlet +and ornamented with the arms of the House of Richelieu. It crosses the +back of the stage slowly. Great agitation among the crowd.</i></p> + +<p class="speaker">MARION (<i>dragging herself up to the litter on her knees and wringing her hands</i>).</p> + +<div class="dialog"> +<span class="i0">In your Christ's name! In name of all your race,</span><br /> +<span class="i0">Mercy for them, my lord!</span> +</div> + +<p class="speaker">A VOICE (<i>from the litter</i>).</p> + +<div class="dialog"> +<span class="m4">No mercy!</span> +</div> + +<p class="staging">[<i><span class="sc">Marion</span> falls to the ground. The litter passes and the procession of +the condemned men follows it. The crowd rush madly after them.</i></p> + +<p class="speaker">MARION (<i>alone, lifts herself half way up, and drags herself along by her hands: looking around.</i>)</p> + +<div class="dialog"> +<span class="m5">Ah!</span><br /> +<span class="i0">What did he say? Where are they gone? My love!</span><br /> +<span class="i0">My Didier! No one! Not a sound! Is it</span><br /> +<span class="i0">A dream—this place? the crowd?—or am I mad?</span> + +<p class="staging">[<i>The people rush back in disorder. The litter reappears in the +background on the side where it went off. <span class="sc">Marion</span> rises and gives a +terrible cry.</i></p> + +<span class="i0">He's coming back!</span> +</div> + +<p class="speaker">GUARDS (<i>pushing the people aside</i>).</p> + +<div class="dialog"> +<span class="m3">Make way!</span> +</div> + +<p class="speaker">MARION (<i>erect and half-wild, pointing to the litter</i>).</p> + +<div class="dialog"> +<span class="m4">Look, all of you!</span><br /> +<span class="i0">It is the red man who goes by!</span> +</div> + +<p class="staging">[<i>She falls senseless.</i></p> + + + + + +<h2 id="play03">ESMERALDA</h2> + + + + +<p>DRAMATIS PERSONÆ</p> +<ul> + <li class="sc">Esmeralda.</li> + <li class="sc">Phœbus de Chateaupers.</li> + <li class="sc">Claude Frollo.</li> + <li class="sc">Quasimodo.</li> + <li class="sc">Fleur-de-lys.</li> + <li class="sc">Madame Aloise de Gondelaurier.</li> + <li class="sc">Diana.</li> + <li class="sc">Bérangère.</li> + <li class="sc">Viscount de Gif.</li> + <li class="sc">M. de Chevreuse.</li> + <li class="sc">M. de Morlaix.</li> + <li class="sc">Clopin Frouillefou.</li> + <li class="sc">The Town-Crier.</li> +</ul> +<p><i>Populace, Vagrants, Archers, etc.</i></p> + + + +<p class="title">ESMERALDA</p> + + + + +<h3>ACT I</h3> + +<p><span class="sc">Scene.</span>—<i>The Court of Miracles. It is night. A crowd of vagrants. +Noisy dancing. Male and female beggars in different attitudes of their +profession. The King of Thune on his cask. Fires, lights, torches. In +the shadow a circle of wretched dwellings</i></p> + + +<h4>SCENE I</h4> + +<p class="scene"><i><span class="sc">Claude Frollo</span>, <span class="sc">Clopin Frouillefou</span>, then <span class="sc">Esmeralda</span>, then +<span class="sc">Quasimodo</span>. <span class="sc">The Vagrants</span></i></p> + +<p class="speaker">CHORUS OF VAGRANTS.</p> + +<div class="dialog"> +<span class="i0">Long live Clopin! Long live the King of Thune!</span><br /> +<span class="i0">Long live the rogues of Paris.</span><br /> +<span class="i0">Let us strike our blows at dusk—</span><br /> +<span class="i0">The hour when all the cats are drunk.</span><br /> +<span class="i0">Let us dance! Defy Pope and bull,</span><br /> +<span class="i0">And let us laugh in our skins,</span><br /> +<span class="i0">Whether April wets or June burns</span><br /> +<span class="i0">The feathers in our caps.</span><br /> +<span class="i0">Let us smell from afar</span><br /> +<span class="i0">The shot of the avenging archer,</span><br /> +<span class="i0">Or the bag of money which passes</span><br /> +<span class="i0">On the back of the traveler.</span><br /> +<span class="i0">In the light of the moon,</span><br /> +<span class="i0">We will go dance with the spirits.</span><br /> +<span class="i0">Long live Clopin, King of Thune!</span><br /> +<span class="i0">Long live the rogues of Paris!</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>apart behind a pillar in a corner of the stage. He is covered with a long cloak which hides his priestly garb</i>).</p> + +<div class="dialog"> +<span class="i0">In the midst of this infamous band</span><br /> +<span class="i0">What matters the sigh of a soul?</span><br /> +<span class="i0">I suffer! Oh, never did fiercer flame</span><br /> +<span class="i0">Burn in the bowels of a volcano.</span> +</div> + +<p class="staging">[<i><span class="sc">Esmeralda</span> enters, dancing.</i></p> + +<p class="speaker">CHORUS.</p> + +<div class="dialog"> +<span class="i0">There she is! There she is! It is she—Esmeralda!</span><br /> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>aside</i>).</p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">It is she! oh, yes—'tis she!</span><br /> +<span class="i2">Wherefore, relentless fate,</span><br /> +<span class="i0">Made you her so beautiful,</span><br /> +<span class="i2">Me—so unfortunate?</span></div> +</div> + +<p class="staging">[<i>She reaches the center of the stage. <span class="sc">The Vagrants</span> form an admiring +circle around her.</i></p> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">An orphan am I,</span><br /> +<span class="i2">Child of woe,</span><br /> +<span class="i0">To you I turn</span><br /> +<span class="i2">And flowers throw!</span><br /> +<span class="i0">In my wild joy</span><br /> +<span class="i2">Sad sighs abide;</span><br /> +<span class="i0">I show a smile,</span><br /> +<span class="i2">The tears I hide.</span></div> +<div class="stanza"> + <span class="i0">Poor girl—I dance</span><br /> +<span class="i2">Where brooklets run,</span><br /> +<span class="i0">As chirp the birds</span><br /> +<span class="i2">My song flows on:</span><br /> +<span class="i0">I am the dove</span><br /> +<span class="i2">Which, hurt, must fall;</span><br /> +<span class="i0">Over my cradle</span><br /> +<span class="i2">Hangs death's pall.</span></div> +</div> + +<p class="speaker">CHORUS.</p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">Young girl, dance on!</span><br /> +<span class="i2">More gentle you make us.</span><br /> +<span class="i0">Take us for family,</span><br /> +<span class="i2">And play with us,</span><br /> +<span class="i0">As stoops the nightingale</span><br /> +<span class="i2">Unto the sea,</span><br /> +<span class="i0">Teasing its waves</span><br /> +<span class="i2">To ecstasy.</span></div> +<div class="stanza"> + <span class="i0">'Tis the young girl—</span><br /> +<span class="i2">Child of woe,</span><br /> +<span class="i0">When beams her eye</span><br /> +<span class="i2">Grief must go.</span><br /> +<span class="i0">She's like the bee</span><br /> +<span class="i2">Which trembling flies</span><br /> +<span class="i0">To the flower's heart,</span><br /> +<span class="i2">Its Paradise.</span></div> +<div class="stanza"> + <span class="i0">Young girl, dance on!</span><br /> +<span class="i2">More gentle you make us.</span><br /> +<span class="i0">Take us for family,</span><br /> +<span class="i2">And play with us!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">Tremble, young girl—</span><br /> +<span class="i0">The priest is jealous.</span> +</div> + +<p class="staging">[<i><span class="sc">Claude</span> attempts to draw near to <span class="sc">Esmeralda</span>; she turns away from him +with a kind of horror. The procession of the Pope of Fools enters. +Torches, lanterns and music. In the middle of the procession, upon a +litter surrounded with candles, <span class="sc">Quasimodo</span>, decked with cope and miter, +is carried.</i></p> + +<p class="speaker">CHORUS.</p> + +<div class="dialog"> +<span class="i0">Salute him, clerks of Vasoche!</span><br /> +<span class="i0">Shell-heaps, lubbers, beggars!</span><br /> +<span class="i0">Salute him, all of you! He comes.</span><br /> +<span class="i0">Behold the Pope of Fools!</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>perceiving <span class="sc">Quasimodo</span>, and starting toward him with a gesture of anger</i>).</p> + +<div class="dialog"> +<span class="i0">Quasimodo! What a strange part to play!</span> +<span class="i0">Profanation! Here—Quasimodo!</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Great God! what do I hear?</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Come here, I tell you.</span> +</div> + +<p class="speaker">QUASIMODO (<i>jumping from the litter</i>).</p> + +<div class="dialog"> +<span class="i0">Here I am!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Be anathematized!</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">God! it is himself!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Outrageous audacity!</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Moment of terror.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">To your knees, traitor!</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Pardon me, Master!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">No! I am a priest.</span> +</div> + +<p class="staging">[<i><span class="sc">Claude Frollo</span> tears off <span class="sc">Quasimodo's</span> pontifical ornaments, and +crushes them underfoot. <span class="sc">The Vagrants</span> begin to murmur; they form +menacing groups around him; he looks at them angrily.</i></p> + +<p class="speaker">THE VAGRANTS.</p> + +<div class="dialog"> +<span class="i0">He threatens us,</span><br /> +<span class="i0">O comrades!</span><br /> +<span class="i0">Here in this place,</span><br /> +<span class="i0">Where we reign.</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">What means the audacity</span><br /> +<span class="i0">Of these robbers?</span><br /> +<span class="i0">They menace him,</span><br /> +<span class="i0">But we shall see!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Race unclean,</span><br /> +<span class="i0">You menace me.</span><br /> +<span class="i0">Robbers—Jews—</span><br /> +<span class="i0">But we shall see!</span> +</div> + +<p class="staging">[<i>The anger of <span class="sc">The Vagrants</span> bursts forth.</i></p> + +<p class="speaker">THE VAGRANTS.</p> + +<div class="dialog"> +<span class="i0">Stop! stop! stop!</span><br /> +<span class="i0">Down with the mar-joy!</span><br /> +<span class="i0">He shall pay for it with his head;</span><br /> +<span class="i0">In vain he defends himself.</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Have respect for his head.</span><br /> +<span class="i0">Let every one cease,</span><br /> +<span class="i0">Or I change this festival</span><br /> +<span class="i0">To a bloody battle.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">It is not about his head</span><br /> +<span class="i0">That Frollo is troubled.</span> + +<p class="staging">[<i>Puts his hand on his heart.</i></p> + +<span class="i0">There is the tempest,</span><br /> +<span class="i0">There is the battle!</span> +</div> + +<p class="staging">[<i>At the moment when <span class="sc">The Vagrants</span>' fury has reached its highest pitch, +<span class="sc">Clopin Frouillefou</span> appears at the back of the stage.</i></p> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">Who in this infamous den</span><br /> +<span class="i0">Dares to attack my lord the Archdeacon,</span><br /> +<span class="i0">And Quasimodo, bell-ringer</span><br /> +<span class="i0">Of Notre Dame?</span> +</div> + +<p class="speaker">THE VAGRANTS (<i>subsiding</i>).</p> + +<div class="dialog"> +<span class="i0">It is Clopin, our King!</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m4">Clowns! Be off!</span> +</div> + +<p class="speaker">THE VAGRANTS.</p> + +<div class="dialog"> +<span class="i0">We must obey!</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m3">Leave us!</span> +</div> + +<p class="staging">[<i><span class="sc">The Vagrants</span> retire to their hovels. The Court of Miracles appears +deserted. <span class="sc">Clopin</span> approaches <span class="sc">Claude</span> cautiously.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene sc">Claude Frollo, Quasimodo, Clopin Frouillefou</p> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">What purpose brings you to this orgy?</span><br /> +<span class="i0">Has your lordship any orders to give me?</span><br /> +<span class="i0">You are my master in sorcery;</span><br /> +<span class="i0">Speak—I will do all.</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>grasping <span class="sc">Clopin</span>'s arm excitedly, and dragging him to the front of the stage</i>).</p> + +<div class="dialog"> +<span class="m4">I have come to end all.</span> +<span class="i0">Listen!</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m2">My lord!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="m3">I love her more than ever.</span><br /> +<span class="i0">You behold me quivering with love and with anguish.</span><br /> +<span class="i0">I must have her to-night.</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">You will see her pass by here—in a moment;</span><br /> +<span class="i0">It is the way to her home.</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">Oh! Hell has hold of me!</span> +<span class="m3">[<i>Aloud.</i>] Soon—you say?</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m4">Upon the instant!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Alone?</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m2">Alone.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="m3">That is enough.</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">Will you wait?</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="m3">I wait—</span> +<span class="i0">Let me have her, or let me die!</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">Can I help you?</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="m3">No!</span> +</div> + +<p class="staging">[<i>He motions to <span class="sc">Clopin</span> to leave him, after having thrown him his +purse. When he finds himself alone with <span class="sc">Quasimodo</span>, he draws him to the +front of the stage.</i></p> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Come! I need you!</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="m3">It is well!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">For a deed that is impious, frightful, awful!</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">You are my lord and master!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="m4">Chains, death, the law—</span><br /> +<span class="i0">We brave them all.</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="m3">Count upon me.</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>recklessly</i>).</p> + +<div class="dialog"> +<span class="i0">I mean to abduct the gypsy!</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Master, take my blood—without telling me why!</span> +</div> + +<p class="staging">[<i>Upon a sign from <span class="sc">Claude Frollo</span> he retires up stage and leaves his +master down stage.</i></p> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Oh, Heaven! to have given one's mind to the depths,</span><br /> +<span class="i0">To have tried all the crimes of sorcery,</span><br /> +<span class="i0">To have fallen lower than hell itself:</span><br /> +<span class="i0">A priest, at midnight, in the dark to watch for a woman!</span><br /> +<span class="i0">And to reflect that in this state in which I find my soul God sees me!</span> +</div> + +<div class="verse"> +<div class="stanza"> + <span class="i0">Well! what does it matter?</span> +<span class="i2">Fate drags me on!</span> +<span class="i0">Its hand is too strong,</span> +<span class="i2">Its will be done!</span> +<span class="i0">I begin life over—</span> +<span class="i2">The priest insane</span> +<span class="i0">Feels hope no longer,</span> +<span class="i2">Knows terror is vain!</span> +<span class="i0">Demon, who drugs me,</span> +<span class="i2">Give her to me;</span> +<span class="i0">And I, who evoked thee,</span> +<span class="i2">Thy slave will be—</span> +<span class="i0">Receive the priest</span> +<span class="i2">Whose bonds are riven!</span> +<span class="i0">Hell with her</span> +<span class="i2">Will be my heaven!</span> +<span class="i0">Come, exquisite woman,</span> +<span class="i2">Your beauty I claim.</span> +<span class="i0">You shall own me forever—</span> +<span class="i2">I swear, in God's name!</span> +<span class="i0">Since he—since the master</span> +<span class="i2">By whom love was given,</span> +<span class="i0">Bids me choose—me, a priest,</span> +<span class="i2">Between passion and heaven!</span></div> +</div> + +<p class="speaker">QUASIMODO (<i>returning</i>).</p> + +<div class="dialog"> +<span class="i0">Master, the moment is at hand!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Yes—the solemn hour:</span><br /> +<span class="i0">It will decide my fate. Be silent! Hush!</span> +</div> + +<p class="speaker">CLAUDE FROLLO <i>and</i> QUASIMODO.</p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">The night is dark,</span> + <span class="i2">Footsteps I hear:</span> + <span class="i0">In shadow does not</span> + <span class="i2">Some one draw near?</span></div> +</div> + +<p class="staging">[<i>They go to the back of the stage to listen.</i></p> + +<p class="speaker">THE WATCH (<i>passing behind the houses</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Vigilance and peace!</span> +<span class="i2">Whoever passes here</span> +<span class="i0">Must ope the eye to darkness,</span> +<span class="i2">To silence strain the ear.</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO <i>and</i> QUASIMODO.</p> + +<div class="verse"> +<div class="stanza"> + <span class="i0">In shadow they come;</span> + <span class="i2">They make no sound:</span> + <span class="i0">Still let us be</span> + <span class="i2">While the watch goes round!</span></div> +</div> + +<p class="staging">[<i>The voices of the watch grow fainter.</i></p> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">The watch has passed!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Our terror follows it.</span> +</div> + +<p class="staging">[<i><span class="sc">Claude Frollo</span> and <span class="sc">Quasimodo</span> look anxiously at the door through +which <span class="sc">Esmeralda</span> must pass.</i></p> + +<p class="speaker">QUASIMODO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Love inspires,</span> +<span class="i2">Hope renders strong,</span> +<span class="i0">Him who watches</span> +<span class="i2">While sleeps the throng.</span> +<span class="i0">I see her come—</span> +<span class="i2">Lo! she appears.</span> +<span class="i0">Maid divine!</span> +<span class="i2">Have no fears!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Love inspires,</span> +<span class="i2">Hope renders strong,</span> +<span class="i0">Him who watches</span> +<span class="i2">While sleeps the throng.</span> +<span class="i0">I see her come,</span> +<span class="i2">Maid divine!</span> +<span class="i0">Lo! she appears—</span> +<span class="i2">She is mine!</span></div> +</div> + +<p class="staging">[<i><span class="sc">Esmeralda</span> enters: they throw themselves upon her and try to drag her +away: she struggles.</i></p> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Help—help! To me—help!</span> +</div> + +<p class="speaker">CLAUDE FROLLO <i>and</i> QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Hush, young maiden—hush!</span> +</div> + + +<h4>SCENE III</h4> + +<p class="scene"><i><span class="sc">Esmeralda</span>, <span class="sc">Quasimodo</span>, <span class="sc">Phœbus de Chateaupers</span>, the archers of +the watch</i></p> + +<p class="speaker">PHŒBUS (<i>entering at the head of a body of archers</i>).</p> + +<div class="dialog"> +<span class="i0">In the King's name!</span> +</div> + +<p class="staging">[<i>In the struggle <span class="sc">Claude</span> escapes. The archers seize <span class="sc">Quasimodo</span>.</i></p> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Arrest him! hold him close!</span><br /> +<span class="i0">Be he lord or valet!</span><br /> +<span class="i0">At once—we will conduct him</span><br /> +<span class="i0">To the prison Chatelet.</span> +</div> + +<p class="staging">[<i>The archers take <span class="sc">Quasimodo</span> up stage and off. <span class="sc">Esmeralda</span>, recovered +from her fright, approaches <span class="sc">Phœbus</span> with curiosity, mingled with +admiration, and draws him gently to the front of the stage.</i></p> + +<p class="speaker">ESMERALDA (<i>to <span class="sc">Phœbus</span></i>).</p> + +<div class="dialog"> +<span class="i0">Deign to tell me</span> +<span class="i0">Your name, sir!</span> +<span class="i0">I beg you to.</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Phœbus, my child—</span> +<span class="i0">Of the family</span> +<span class="i0">Of Chateaupers.</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Captain?</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Yes, my queen!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Queen? oh, no!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Exquisite grace!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Phœbus! I like your name!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Upon my soul</span> +<span class="i2">I have a blade</span> +<span class="i0">Which has, Madame,</span> +<span class="i2">Great havoc made.</span></div> +</div> + +<p class="speaker">ESMERALDA (<i>to <span class="sc">Phœbus</span></i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">A beautiful captain,</span> +<span class="i2">An officer grand,</span> +<span class="i0">With corselet of steel</span> +<span class="i2">And an air of command!</span> +<span class="i0">Often, kind sir,</span> +<span class="i2">Our hearts they break,</span> +<span class="i0">And only laugh</span> +<span class="i2">At the tears they make.</span></div> +</div> + +<p class="speaker">PHŒBUS (<i>aside</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">With a beautiful captain,</span> +<span class="i2">An officer gay,</span> +<span class="i0">Love hardly succeeds</span> +<span class="i2">In living a day.</span> +<span class="i0">All soldiers desire</span> +<span class="i2">To pluck every rose,</span> +<span class="i0">Joys without troubles,</span> +<span class="i2">Love without woes.</span></div> +</div> + +<p class="speaker">PHŒBUS (<i>to <span class="sc">Esmeralda</span></i>).</p> + +<div class="dialog"> +<span class="i0">A radiant spirit</span><br /> +<span class="i0">Smiles at me</span><br /> +<span class="i0">Through thine eyes.</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">A beautiful captain,</span> +<span class="i2">An officer grand,</span> +<span class="i0">With corselet of steel</span> +<span class="i2">And an air of command!</span> +<span class="i0">Long watches the girl</span> +<span class="i2">He carelessly passed;</span> +<span class="i0">And the dreams he awakened</span> +<span class="i2">Forever may last!</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">With a beautiful captain,</span> +<span class="i2">An officer gay,</span> +<span class="i0">Love hardly succeeds</span> +<span class="i2">In a living day!</span> +<span class="i0">It's like lightning which flashes—</span> +<span class="i2">This eager desire</span> +<span class="i0">Which the eyes of sweet maidens</span> +<span class="i2">Kindle to fire!</span></div> +</div> + +<p class="speaker">ESMERALDA (<i>standing before the <span class="sc">Captain</span> and admiring him</i>).</p> + +<div class="dialog"> +<span class="i0">My lord Phœbus! Let me see you!</span> +<span class="i0">Let me admire you a hundred-fold!</span> +<span class="i0">Oh the beautiful scarf of silk—</span> +<span class="i0">Oh the fine scarf with fringe of gold!</span> +</div> + +<p class="staging">[<i><span class="sc">Phœbus</span> takes it off and offers it to her.</i></p> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Does it please you?</span> +</div> + +<p class="speaker">ESMERALDA (<i>taking the scarf and putting it on</i>).</p> + +<div class="dialog"> +<span class="i0">Yes, it is beautiful!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">One moment!</span> +</div> + +<p class="staging">[<i>He goes to her and tries to embrace her.</i></p> + +<p class="speaker">ESMERALDA (<i>drawing back</i>).</p> + +<div class="dialog"> +<span class="i0">Don't, I beg you!</span> +</div> + +<p class="speaker">PHŒBUS (<i>insisting</i>).</p> + +<div class="dialog"> +<span class="i0">You must kiss me!</span> +</div> + +<p class="speaker">ESMERALDA (<i>drawing away still more</i>).</p> + +<div class="dialog"> +<span class="i0">No, truly!</span> +</div> + +<p class="speaker">PHŒBUS (<i>laughing</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">A beauty</span> +<span class="i0">So cruel,</span> +<span class="i0">So haughty,</span> +<span class="i0">Is charming.</span></div> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">No, beautiful captain,</span> +<span class="i2">In vain you plead!</span> +<span class="i0">Can I tell how far</span> +<span class="i2">A kiss might lead?</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">I am a captain,</span> +<span class="i2">Why abuse me?</span> +<span class="i0">I want a kiss—</span> +<span class="i2">Don't refuse me!</span> +<span class="i0">Give it me—give it, or I will take!</span></div> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">No, leave me! I beg of you, for my sake.</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">One kiss, one kiss—'tis nothing, you see.</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Nothing to you, but much to me!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Look at me, dear! I am playing no part!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Alas, but I cannot look into my heart!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">To-night love shall make an entrance there!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Wherever love enters, soon follows despair.</span> +</div> + +<p class="staging">[<i>She slips out of his arms and escapes. <span class="sc">Phœbus</span>, disappointed, +turns to <span class="sc">Quasimodo</span>, whom the archers hold bound at the back of the +stage.</i></p> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">She escapes me, she resists me!</span> +<span class="i0">A gay adventure, verily!</span> +<span class="i0">I keep the worst of our two birds of prey—</span> +<span class="i0">The owl remains; the nightingale flew away!</span> +</div> + +<p class="staging">[<i>He places himself at the head of his guard and goes out, taking +<span class="sc">Quasimodo</span> with him.</i></p> + +<p class="speaker">CHORUS OF THE WATCH.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Vigilance and peace—</span> +<span class="i2">Whoever passes here</span> +<span class="i0">Must ope the eye to darkness,</span> +<span class="i2">To silence strain the ear!</span></div> +</div> + +<p class="staging">[<i>The sound grows fainter and finally ceases.</i></p> + + + + +<h3>ACT II</h3> + +<p><span class="sc">Scene.</span>—<i>The square of Grève. The pillory. <span class="sc">Quasimodo</span> is in the +pillory. Populace on the square</i></p> + + +<h4>SCENE I</h4> + +<p class="speaker">CHORUS.</p> + +<div class="dialog"> +<span class="i0">He abducted a girl—</span><br /> +<span class="i0">What! is it possible?</span><br /> +<span class="i0">Hark! how they abuse him!</span><br /> +<span class="i0">Do you hear, my friends?</span><br /> +<span class="i0">Quasimodo has been hunting on Cupid's domain!</span> +</div> + +<p class="speaker">A WOMAN OF THE PEOPLE.</p> + +<div class="dialog"> +<span class="i0">He will pass through my street</span><br /> +<span class="i0">On his return from the pillory;</span><br /> +<span class="i0">And it is Pierrat Forterne</span><br /> +<span class="i0">Who will give us the signal.</span> +</div> + +<p class="speaker">TOWN-CRIER.</p> + +<div class="dialog"> +<span class="i0">In the King's name, whom God protect!</span><br /> +<span class="i0">The man you see here, will be put</span><br /> +<span class="i0">Under a strong guard,</span><br /> +<span class="i0">In the pillory for one hour.</span> +</div> + +<p class="speaker">CHORUS.</p> + +<div class="dialog"> +<span class="i0">Down with him! Down with him!</span><br /> +<span class="i0">The hunchback, the deaf, the one-eyed creature</span><br /> +<span class="m3">This Barabbas!</span><br /> +<span class="i0">I believe, s'death! he's looking at us.</span><br /> +<span class="i0">Down with the sorcerer!</span><br /> +<span class="i0">He makes faces, he kicks;</span><br /> +<span class="i0">He makes dogs bark in the streets.</span><br /> +<span class="i0">Punish the rascal well!</span><br /> +<span class="i0">Double the whip and the penalty.</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Drink!</span> +</div> + +<p class="speaker">CHORUS.</p> + +<div class="dialog"> +<span class="m2">Hang him!</span> +</div> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Drink!</span> +</div> + +<p class="speaker">CHORUS.</p> + +<div class="dialog"> +<span class="m2">Be accursed!</span> +</div> + +<p class="staging">[<i><span class="sc">Esmeralda</span>, some instants ago, joined the crowd. She perceives +<span class="sc">Quasimodo</span>, first with surprise, then with pity. Suddenly, in the midst +of all the noise, she mounts the pillory, unfastens a little cup which +she carries on her belt, and gives a drink to <span class="sc">Quasimodo</span>.</i></p> + +<p class="speaker">CHORUS.</p> + +<div class="dialog"> +<span class="i0">What are you doing, beautiful girl?</span><br /> +<span class="i0">Leave Quasimodo alone!</span><br /> +<span class="i0">When Beelzebub roasts,</span><br /> +<span class="i0">Nobody gives him water.</span> +</div> + +<p class="staging">[<i>She comes down. The archers unfasten <span class="sc">Quasimodo</span> and take him away.</i></p> + +<p class="speaker">CHORUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">He abducted a woman!</span><br /> +<span class="i2">Who? This dolt!</span><br /> +<span class="i0">It is terrible, it is infamous,</span><br /> +<span class="i2">It is too much!</span><br /> +<span class="i0">Do you hear, my friends?</span><br /> +<span class="i2">Quasimodo</span><br /> +<span class="i0">Dared to go hunting on Cupid's domain.</span></div> +</div> + + +<h4>SCENE II</h4> + +<p class="scene"><i>A magnificent drawing-room in which people are making preparations for +a festival.</i> <span class="sc">Phœbus, Fleur-de-lys, Madame Aloise De Gondelaurier</span></p> + +<p class="speaker">MADAME ALOISE.</p> + +<div class="dialog"> +<span class="i0">Phœbus, my future son-in-law, listen to me. I am fond of you.</span><br /> +<span class="i0">Be master here, as if you were another self.</span><br /> +<span class="i0">Look to it that every one is gay to-night.</span><br /> +<span class="i0">And you, my daughter, come, get ready.</span><br /> +<span class="i0">You will be the most beautiful at this festival,</span><br /> +<span class="i0">Be also the most happy.</span> +</div> + +<p class="staging">[<i>She goes up stage and gives orders to the servants, who continue the +preparations.</i></p> + +<p class="speaker">FLEUR-DE-LYS.</p> + +<div class="dialog"> +<span class="i0">Sir, since the other week,</span><br /> +<span class="i0">We have hardly seen you twice!</span><br /> +<span class="i0">This festival brings you back.</span><br /> +<span class="i0">How fortunate for us!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Don't scold, I beg of you!</span> +</div> + +<p class="speaker">FLEUR-DE-LYS.</p> + +<div class="dialog"> +<span class="i0">I understand. Phœbus forgets me!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">I swear to you—</span> +</div> + +<p class="speaker">FLEUR-DE-LYS.</p> + +<div class="dialog"> +<span class="m3">Don't swear!</span><br /> +<span class="i0">They only swear who deceive.</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Forget you? What folly!</span><br /> +<span class="i0">Are you not the most fair?</span><br /> +<span class="i0">Am I not the most loving?</span> +</div> + +<p class="speaker">PHŒBUS (<i>aside</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">My beautiful betrothed</span><br /> +<span class="i2">Is out of sorts to-day;</span><br /> +<span class="i0">Suspicion is in her mind.</span><br /> +<span class="i2">What a pity!</span><br /> +<span class="i0">Beauties, the lovers you treat ill</span><br /> +<span class="i2">Go elsewhere.</span><br /> +<span class="i0">You can do more with pleasure</span><br /> +<span class="i2">Than with tears.</span></div> +</div> + +<p class="speaker">FLEUR-DE-LYS (<i>aside</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">To betray me, his betrothed,</span><br /> +<span class="i2">Who belong to him!</span><br /> +<span class="i0">I, who have only him to think of</span><br /> +<span class="i2">And worry about!</span><br /> +<span class="i0">Ah! whether he is away or here,</span><br /> +<span class="i2">What grief!</span><br /> +<span class="i0">Present, he scorns my joy;</span><br /> +<span class="i2">Absent, my tears.</span></div> +</div> + +<p class="speaker">FLEUR-DE-LYS.</p> + +<div class="dialog"> +<span class="i0">Phœbus, the scarf that I worked for you—</span><br /> +<span class="i0">What have you done with it? I don't see it.</span> +</div> + +<p class="speaker">PHŒBUS (<i>troubled</i>).</p> + +<div class="dialog"> +<span class="i0">The scarf? I don't know!</span><br /> +<span class="i0">[<i>Aside.</i>] Good God! unlucky chance!</span> +</div> + +<p class="speaker">FLEUR-DE-LYS.</p> + +<div class="dialog"> +<span class="i0">You forgot it?</span><br /> +<span class="m2">[<i>Aside.</i>]To whom has he given it?</span><br /> +<span class="i0">And for whom am I deserted?</span> +</div> + +<p class="speaker">MADAME ALOISE (<i>coming up to them and trying to reconcile them</i>).</p> + +<div class="dialog"> +<span class="i0">Heavens! get married! Then you can quarrel.</span> +</div> + +<p class="speaker">PHŒBUS (<i>to <span class="sc">Fleur-de-lys</span></i>).</p> + +<div class="dialog"> +<span class="i0">No! I have not forgotten it.</span><br /> +<span class="i0">I remember, I carefully folded it</span><br /> +<span class="i0">And put it in an enameled box</span><br /> +<span class="i0">That I had made for it.</span> + +<p class="staging">[<i>Passionately to <span class="sc">Fleur-de-lys</span>, who still frets.</i></p> + +<span class="i0">I swear I love you better</span><br /> +<span class="i0">Than one could love Venus herself!</span> +</div> + +<p class="speaker">FLEUR-DE-LYS.</p> + +<div class="dialog"> +<span class="i0">Don't swear! Don't swear!</span><br /> +<span class="i0">They only swear who deceive!</span> +</div> + +<p class="speaker">MADAME ALOISE.</p> + +<div class="dialog"> +<span class="i0">Children, don't quarrel—everything is bright to-day!</span><br /> +<span class="i0">Come, my daughter, you must be seen!</span><br /> +<span class="i0">The guests are coming! Everything has its turn.</span><br /> +<span class="i0">[<i>To the servants.</i>] Light the candles and let the ball begin.</span><br /> +<span class="i0">I want everything to be beautiful, to seem as bright as day.</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Since we have Fleur-de-lys, nothing is wanting to the ball.</span> +</div> + +<p class="speaker">FLEUR-DE-LYS.</p> + +<div class="dialog"> +<span class="i0">Yes, Phœbus—love is wanting! [<i>They go out.</i></span> +</div> + +<p class="speaker">PHŒBUS (<i>watching <span class="sc">Fleur-de-lys</span> go out</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">She speaks the truth: my heart is sad</span><br /> +<span class="i2">Even when she is near—</span><br /> +<span class="i0">The one I love, the one who fills my soul—</span><br /> +<span class="i2">Alas! she is not here.</span></div> +<div class="stanza"> + <span class="i0">Exquisite creature,</span><br /> +<span class="i2">To you my love!</span><br /> +<span class="i0">Oh, dancing shadow,</span><br /> +<span class="i2">My sweet-voiced dove,</span><br /> +<span class="i0">Absent, yet with me</span><br /> +<span class="i2">Wherever I move!</span></div> +<div class="stanza"> + <span class="i0">She's as bewildering and sweet</span><br /> +<span class="i2">As is a nest 'mid rushes,</span><br /> +<span class="i0">Sweet as a rosebud crowned with moss,</span><br /> +<span class="i2">Sweet as the joy which sorrow hushes.</span></div> +<div class="stanza"> + <span class="i0">Humble child and virgin proud,</span><br /> +<span class="i2">Soul that's pure though free!</span><br /> +<span class="i0">Voluptuous ardors sink abashed</span><br /> +<span class="i2">Before thy chastity.</span></div> +<div class="stanza"> + <span class="i0">In the dark night she comes,</span><br /> +<span class="i2">An angel from the skies;</span><br /> +<span class="i0">Her forehead veiled by shadows,</span><br /> +<span class="i2">Flames darting from her eyes.</span></div> +<div class="stanza"> + <span class="i0">I see her face forever—</span><br /> +<span class="i2">Now bright, now dark it seems;</span><br /> +<span class="i0">But strangely—'tis in heaven</span><br /> +<span class="i2">I see her in these dreams.</span></div> +<div class="stanza"> + <span class="i0">Exquisite creature.</span><br /> +<span class="i2">To you my love!</span><br /> +<span class="i0">Oh, dancing shadow,</span><br /> +<span class="i2">My sweet-voiced dove,</span><br /> +<span class="i0">Absent, yet with me</span><br /> +<span class="i2">Wherever I move!</span></div> +</div> + +<p class="staging">[<i>Enter several lords and ladies in gala dress.</i></p> + + +<h4>SCENE III</h4> + +<p class="scene"><i>The preceding. <span class="sc">Viscount de Gif</span>, <span class="sc">M. de Morlaix</span>, <span class="sc">M. de Chevreuse</span>, +<span class="sc">Madame de Gondelaurier</span>, <span class="sc">Fleur-de-lys</span>, <span class="sc">Diana</span>, <span class="sc">Bérangère</span>. Ladies, +Lords</i></p> + +<p class="speaker">VISCOUNT DE GIF.</p> + +<div class="dialog"> +<span class="i0">My salutations, noble hostesses!</span> +</div> + +<p class="speaker">MADAME ALOISE, PHŒBUS, FLEUR-DE-LYS (<i>bowing</i>).</p> + +<div class="dialog"> +<span class="i0">Good-evening, noble viscount!</span><br /> +<span class="i0">Forget all care and grief</span><br /> +<span class="i0">Beneath this hospitable roof.</span> +</div> + +<p class="speaker">M. DE MORLAIX.</p> + +<div class="dialog"> +<span class="i0">Ladies, may God send you</span><br /> +<span class="i0">Health, pleasure, and happiness!</span> +</div> + +<p class="speaker">MADAME ALOISE, PHŒBUS, FLEUR-DE-LYS.</p> + +<div class="dialog"> +<span class="i0">May Heaven return with interest</span><br /> +<span class="i0">All your good wishes, my lord!</span> +</div> + +<p class="speaker">M. DE CHEVREUSE.</p> + +<div class="dialog"> +<span class="i0">Ladies, from the bottom of my soul</span><br /> +<span class="i0">I belong to you, as I do to God!</span> +</div> + +<p class="speaker">MADAME ALOISE, PHŒBUS, FLEUR-DE-LYS.</p> + +<div class="dialog"> +<span class="i0">Kind sir, may our good Lady</span><br /> +<span class="i0">Come always to your aid!</span> +</div> + +<p class="staging">[<i>All the guests enter.</i></p> + +<p class="speaker">CHORUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Come to the festival, come!</span><br /> +<span class="i0">Page, lordship, and ladyship, come!</span><br /> +<span class="i2">With flowers in your hand,</span><br /> +<span class="i2">A joy-seeking band,</span><br /> +<span class="i0">Come to the festival, come!</span></div> +</div> + +<p class="staging">[<i>The guests greet and salute each other; servants circulate among the +crowd, bearing platters laden with flowers and fruits. A group of young +girls forms itself near a window to the left. Suddenly one of them calls +to the others, and motions to them to look out of the window.</i></p> + +<p class="speaker">DIANA (<i>looking out</i>).</p> + +<div class="dialog"> +<span class="i0">Come and look! come and look, Bérangère!</span> +</div> + +<p class="speaker">BÉRANGÈRE (<i>looking into the street</i>).</p> + +<div class="dialog"> +<span class="i0">Isn't she quick? Isn't she light?</span> +</div> + +<p class="speaker">DIANA.</p> + +<div class="dialog"> +<span class="i0">It is a fairy or it is love.</span> +</div> + +<p class="speaker">VISCOUNT DE GIF (<i>laughing</i>).</p> + +<div class="dialog"> +<span class="i0">Who dances in the public square?</span> +</div> + +<p class="speaker">M. DE CHEVREUSE (<i>after having looked</i>).</p> + +<div class="dialog"> +<span class="i0">Indeed! it is the magician.</span><br /> +<span class="i0">Phœbus, it is your gypsy</span><br /> +<span class="i0">Whom, the other night, with valor</span><br /> +<span class="i0">You saved from a robber.</span> +</div> + +<p class="speaker">VISCOUNT DE GIF.</p> + +<div class="dialog"> +<span class="i0">Oh, yes, it is the gypsy.</span> +</div> + +<p class="speaker">M. DE MORLAIX.</p> + +<div class="dialog"> +<span class="i0">She's as beautiful as the day.</span> +</div> + +<p class="speaker">DIANA (<i>to <span class="sc">Phœbus</span></i>).</p> + +<div class="dialog"> +<span class="i0">If you know her, tell her to come</span><br /> +<span class="i0">And dance for us.</span> +</div> + +<p class="speaker">PHŒBUS (<i>looking out with an absent air</i>).</p> + +<div class="dialog"> +<span class="i0">It might be she!</span> +</div> + +<p class="staging">[<i>To <span class="sc">M. de Gif</span>.</i>] Do you think she would remember?</p> + +<p class="speaker">FLEUR-DE-LYS (<i>who watches and listens</i>).</p> + +<div class="dialog"> +<span class="i0">Every one remembers you.</span><br /> +<span class="i0">Come, call her, tell her to come up.</span><br /> +<span class="i0">[<i>Aside.</i>] I will see whether to believe what I am told.</span> +</div> + +<p class="speaker">PHŒBUS (<i>to <span class="sc">Fleur-de-lys</span></i>).</p> + +<div class="dialog"> +<span class="i0">You wish it? Well, let us try!</span> +</div> + +<p class="staging">[<i>He motions to the dancer to come up.</i></p> + +<p class="speaker">THE YOUNG GIRLS.</p> + +<div class="dialog"> +<span class="i0">She is coming!</span> +</div> + +<p class="speaker">M. DE CHEVREUSE.</p> + +<div class="dialog"> +<span class="i0">She has disappeared under the porch.</span> +</div> + +<p class="speaker">DIANA.</p> + +<div class="dialog"> +<span class="i0">She has left the mob, stupefied.</span> +</div> + +<p class="speaker">VISCOUNT DE GIF.</p> + +<div class="dialog"> +<span class="i0">Ladies, you will see the nymph of the streets.</span> +</div> + +<p class="speaker">FLEUR-DE-LYS (<i>aside</i>).</p> + +<div class="dialog"> +<span class="i0">How quickly she obeyed that sign from Phœbus!</span> +</div> + + +<h4>SCENE IV</h4> + +<p class="scene"><i>The same. <span class="sc">Esmeralda.</span> The gypsy enters timidly, confused and radiant. +Movement of admiration. The crowd falls back before her</i></p> + +<p class="speaker">CHORUS.</p> + +<div class="dialog"> +<span class="i0">Look! her brow is fair amid the fairest,</span><br /> +<span class="i0">As a star would shine, surrounded by torches.</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Oh, creature divine!</span><br /> +<span class="i2">Admiration is duty.</span><br /> +<span class="i0">Of this ball she is queen,</span><br /> +<span class="i2">Her crown is her beauty.</span></div> + +<p class="staging">[<i>He turns to <span class="sc">Messieurs de Gif</span> and <span class="sc">de Chevreuse</span>.</i></p> + +<div class="stanza"> +<span class="i0">Friends, my soul is on fire.</span><br /> +<span class="i2">War and death would I face,</span><br /> +<span class="i0">To hold in my arms</span><br /> +<span class="i2">Such bewildering grace.</span></div> +</div> + +<p class="speaker">M. DE CHEVREUSE.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">She is a heavenly vision,</span><br /> +<span class="i2">A dream most rare and tender,</span><br /> +<span class="i0">Which, floating through earth's darkness,</span><br /> +<span class="i2">Radiates celestial splendor.</span><br /> +<span class="i0">Born in the public streets—</span><br /> +<span class="i2">Oh, blind caprice of fate,</span><br /> +<span class="i0">To trail through muddy streams</span><br /> +<span class="i2">A flower so immaculate!</span></div> +</div> + +<p class="speaker">ESMERALDA (<i>fixing her eyes on <span class="sc">Phœbus</span> in the crowd</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">It is my Phœbus, I was sure,</span><br /> +<span class="i2">Just as that night I found him;</span><br /> +<span class="i0">Whether in satin or in steel,</span><br /> +<span class="i2">How grace and strength surround him!</span><br /> +<span class="i0">Phœbus—my head is all on fire,</span><br /> +<span class="i2">All burns within me, joy and pain;</span><br /> +<span class="i0">My soul's consumed for lack of tears,</span><br /> +<span class="i2">Just as earth yearns for rain.</span></div> +</div> + +<p class="speaker">FLEUR-DE-LYS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">How fair she is—yes, I was sure!</span><br /> +<span class="i2">Jealous, indeed, I ought to be;</span><br /> +<span class="i0">But yet to match that loveliness</span><br /> +<span class="i2">How great must be my jealousy!</span><br /> +<span class="i0">Alas! perhaps we both, foredoomed</span><br /> +<span class="i2">To waste 'neath sorrow's harsh caress,</span><br /> +<span class="i0">Full soon shall die—she in her flower,</span><br /> +<span class="i2">I in my loneliness!</span></div> +</div> + +<p class="speaker">MADAME ALOISE.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">A radiant creature, truly,</span><br /> +<span class="i2">But, faith, 'tis a disgrace</span><br /> +<span class="i0">That such a wretched gypsy</span><br /> +<span class="i2">Should have so sweet a face.</span><br /> +<span class="i0">Alas! the curious laws of fate</span><br /> +<span class="i2">'Tis not for mortal mind to know:</span><br /> +<span class="i0">The serpent hides his treacherous head</span><br /> +<span class="i2">Beneath the fairest flowers that grow.</span></div> +</div> + +<p class="speaker">ALL (<i>together</i>).</p> + +<div class="dialog"> +<span class="i0">She has the calmness, the delight</span><br /> +<span class="i0">Of radiant skies on a warm night.</span> +</div> + +<p class="speaker">MADAME ALOISE (<i>to <span class="sc">Esmeralda</span></i>).</p> + +<div class="dialog"> +<span class="i0">Come, child! My beauty, come—</span><br /> +<span class="i0">Come and dance us some new dance!</span> +</div> + +<p class="staging">[<i><span class="sc">Esmeralda</span> prepares to dance, and draws from her bosom the scarf which +<span class="sc">Phœbus</span> gave her.</i></p> + + +<p class="speaker">FLEUR DE-LYS.</p> + +<div class="dialog"> +<span class="i0">My scarf! Phœbus, you have deceived me!</span><br /> +<span class="i0">My rival! Here she is!</span> +</div> + +<p class="staging">[<i><span class="sc">Fleur-de-lys</span> snatches the scarf from <span class="sc">Esmeralda</span>, and falls in a +swoon. All the people rush angrily toward the gypsy, who flies for +protection to <span class="sc">Phœbus</span>.</i></p> + +<p class="speaker">ALL.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Is it true that Phœbus loves her?</span><br /> +<span class="i2">Infamous creature, go—depart!</span><br /> +<span class="i0">To brave us thus in our own home,</span><br /> +<span class="i2">You must have an audacious heart.</span><br /> +<span class="i0">Oh! height of insolence! Retire!</span><br /> +<span class="i2">Go back into the public street!</span><br /> +<span class="i0">The common tradesmen, they can praise</span><br /> +<span class="i2">The jumping of your low-born feet.</span><br /> +<span class="i0">Away with her, away at once!</span><br /> +<span class="i2">Out at the door! 'Tis a disgrace</span><br /> +<span class="i0">For this degraded girl to lift</span><br /> +<span class="i2">Her eyes to such a lofty place.</span></div> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Oh, defend me! Help! Defend me,</span><br /> +<span class="i2">Save me, Phœbus, I implore thee;</span><br /> +<span class="i0">For the poor forsaken gypsy,</span><br /> +<span class="i2">Stands defenseless now before thee!</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">I love her, and I love but her.</span><br /> +<span class="i2">Yes! her defender I will be.</span><br /> +<span class="i0">I'll fight for her, and my strong arm</span><br /> +<span class="i2">Will bear my heart out valiantly.</span><br /> +<span class="i0">If some one must be her protector,</span><br /> +<span class="i2">I am the one—and doubt me not,</span><br /> +<span class="i0">Her wrongs are mine, and who insults her</span><br /> +<span class="i2">Must answer for it on the spot.</span></div> +</div> + +<p class="speaker">ALL.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">What! She is what he loves! Indeed!</span><br /> +<span class="i2">Away from here, away from here!</span><br /> +<span class="i0">A gypsy he prefers to us;</span><br /> +<span class="i2">With loving words he calms her fear.</span><br /> +<span class="i0">Hush! silence! Both of you be still!</span><br /> +<span class="i2">No further words of insolence.</span></div> +</div> + +<div class="dialog"> +<span class="i0">[<i>To <span class="sc">Phœbus</span>.</i>] From you, 'tis too much arrogance!</span><br /> +<span class="i0">[<i>To <span class="sc">Esmeralda</span>.</i>] From thee, too much impertinence!</span> +</div> + +<p class="staging">[<i><span class="sc">Phœbus</span> and his friends protect the gypsy, who is menaced by all +the guests of <span class="sc">Madame De Gondelaurier</span>. <span class="sc">Esmeralda</span> staggers toward the +door.</i></p> + + + + +<h3>ACT III</h3> + +<p><span class="sc">Scene.</span>—<i>The front yard of a tavern. Tavern to the right; trees to the +left. In the back a door, and a small low wall which closes in the yard. +In the distance the roof of Notre Dame with its towers and its spire. A +dark silhouette of old Paris outlines itself against the red sunset. The +river Seine is at the base of the picture</i></p> + + +<h4>SCENE I</h4> + +<p class="scene"><i><span class="sc">Phœbus</span>, <span class="sc">Viscount de Gif</span>, <span class="sc">M. de Morlaix</span>, <span class="sc">M. de Chevreuse</span>, and +many other friends of <span class="sc">Phœbus</span>, seated at tables, are drinking, and +singing; afterward <span class="sc">Don Claude Frollo</span></i></p> + +<p class="speaker">CHORUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Be propitious and well-inclined,</span><br /> +<span class="i2">Our Lady of Saint Lo,</span><br /> +<span class="i0">To him who only water hates</span><br /> +<span class="i2">Of all things here below!</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Give to the brave</span><br /> +<span class="i2">In every place</span><br /> +<span class="i0">A well-filled cellar,</span><br /> +<span class="i2">A pretty face.</span><br /> +<span class="i0">Happy fellow!</span><br /> +<span class="i2">Help him hold</span><br /> +<span class="i0">Dainty women,</span><br /> +<span class="i2">Wine that's old.</span></div> +<div class="stanza"> +<span class="i0">If a beauty</span><br /> +<span class="i2">Of cold mien</span><br /> +<span class="i0">Be unwilling,</span><br /> +<span class="i2">'Tis sometimes seen,</span><br /> +<span class="i0">He jokes with her</span><br /> +<span class="i2">With merry winks,</span><br /> +<span class="i0">Then he sings,</span><br /> +<span class="i2">Then he drinks!</span></div> +<div class="stanza"> +<span class="i0">The day goes by.</span><br /> +<span class="i2">Or drunk or not,</span><br /> +<span class="i0">He soon embraces</span><br /> +<span class="i2">His Toinotte;</span><br /> +<span class="i0">Then ferocious</span><br /> +<span class="i2">He goes to bed</span><br /> +<span class="i0">In a cannon's mouth,</span><br /> +<span class="i2">And sleeps like lead!</span></div> +<div class="stanza"> +<span class="i0">And his soul,</span><br /> +<span class="i2">Which often seems</span><br /> +<span class="i0">To mix up women</span><br /> +<span class="i2">With his dreams,</span><br /> +<span class="i0">Is contented if the wind,</span><br /> +<span class="i2">With its come and go,</span><br /> +<span class="i0">Rocks the canvas of his tent</span><br /> +<span class="i2">Gently to and fro!</span></div> +</div> + +<p class="speaker">CHORUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Be propitious and well inclined,</span><br /> +<span class="i2">Our Lady of Saint Lo!</span><br /> +<span class="i0">To him who only water hates</span><br /> +<span class="i2">Of all things here below.</span></div> +</div> + +<p class="staging">[<i>Enter <span class="sc">Claude Frollo</span>, who seats himself at a table at some distance +from <span class="sc">Phœbus</span>, and appears at first to observe nothing that passes +around him.</i></p> + +<p class="speaker">VISCOUNT DE GIF (<i>to <span class="sc">Phœbus</span></i>).</p> + +<div class="dialog"> +<span class="i0">That pretty gypsy,</span><br /> +<span class="i0">What are you doing with her?</span> +</div> + +<p class="staging">[<i><span class="sc">Claude Frollo</span> makes a movement of attention.</i></p> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">To-night, in an hour,</span><br /> +<span class="i0">I have a meeting with her.</span> +</div> + +<p class="speaker">ALL.</p> + +<div class="dialog"> +<span class="i0">Truly?</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="m2">Truly!</span> +</div> + +<p class="staging">[<i>The agitation of <span class="sc">Claude Frollo</span> increases.</i></p> + +<p class="speaker">VISCOUNT DE GIF.</p> + +<div class="dialog"> +<span class="i0">In one hour?</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i4">In one moment!</span><br /> +<span class="i0">Oh, love! supremest rapture!</span><br /> +<span class="i2">To feel one heart holds two!</span><br /> +<span class="i0">To own the woman that one loves—</span><br /> +<span class="i2">Be slave and conqueror too!</span><br /> +<span class="i0">To have her soul; to have her charms,</span><br /> +<span class="i2">Her song which fills with bliss;</span><br /> +<span class="i0">To see her sweet eyes wet with tears,</span><br /> +<span class="i2">To dry them with a kiss.</span></div> +</div> + +<p class="staging">[<i>While he sings, the others drink and strike their glasses.</i></p> + +<p class="speaker">CHORUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">'Tis a rapture supreme,</span><br /> +<span class="i2">Whatever one thinks,</span><br /> +<span class="i0">To drink to one's love,</span><br /> +<span class="i2">And to love what one drinks!</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Friends, the prettiest of all,</span><br /> +<span class="i2">A grace divine,</span><br /> +<span class="i0">Oh, wonder, ecstasy!</span><br /> +<span class="i2">Friends, she is mine!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>aside</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">I bind myself to hell;</span><br /> +<span class="i0">Misfortune on you dwell!</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Pleasure awaits us;</span><br /> +<span class="i2">Exhaust without remorse</span><br /> +<span class="i0">The better part of life,</span><br /> +<span class="i2">Love's precious intercourse!</span><br /> +<span class="i0">What matter if one dies,</span><br /> +<span class="i2">When joy has passed away,</span><br /> +<span class="i0">I'd give a century for an hour,</span><br /> +<span class="i2">Eternity for a day.</span></div> +</div> + +<p class="staging">[<i>The curfew rings; the friends of <span class="sc">Phœbus</span> arise from the table, +replace their swords, their caps, their cloaks, and prepare to depart.</i></p> + +<p class="speaker">CHORUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Phœbus, the hour is come;</span><br /> +<span class="i2">It is the curfew-bell:</span><br /> +<span class="i0">Hurry to your beloved;</span><br /> +<span class="i2">God's blessing on you dwell!</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">At last the hour is come;</span><br /> +<span class="i2">It is the curfew-bell.</span><br /> +<span class="i0">I go to my beloved;</span><br /> +<span class="i2">God's blessing on her dwell!</span></div> +</div> + +<p class="staging">[<i>The friends of <span class="sc">Phœbus</span> go out.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene"><i><span class="sc">Claude Frollo</span>, <span class="sc">Phœbus</span>. <span class="sc">Claude Frollo</span> stops <span class="sc">Phœbus</span> as he +is about to go out</i></p> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Captain!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="m2">Who is this man?</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Listen to me?</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="m3">Make haste!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Do you know the name of the one</span><br /> +<span class="i0">Who awaits you at the meeting to-night?</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">By my life, it is my beauty!</span><br /> +<span class="i2">The one I love and who loves me.</span><br /> +<span class="i0">My song-bird, my dancing gypsy,</span><br /> +<span class="i2">My Esmeralda, it is she!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">It is death!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Friend! First, you are an idiot;</span><br /> +<span class="i0">Second, go to the devil!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Listen!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="m2">What do I care?</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Phœbus, if you cross the threshold of that door—</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">You are mad!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i4">You are dead!</span><br /> +<span class="i0">Tremble! One of the gypsies she!</span><br /> +<span class="i2">No law protects those awful places.</span><br /> +<span class="i0">There love's a masquerade for hate,</span><br /> +<span class="i2">Death lies concealed in their embraces.</span></div> +</div> + +<p class="speaker">PHŒBUS (<i>laughing</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">My dear sir, readjust your cape,</span><br /> +<span class="i2">Return unto your fools' retreat!</span><br /> +<span class="i0">Strange they allow you to escape!</span><br /> +<span class="i0">May Esculapius, Jupiter, the Devil,</span><br /> +<span class="i2">Thither conduct your straying feet!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Truly they are faithless women;</span><br /> +<span class="i2">Believe that the report speaks true.</span><br /> +<span class="i0">Darkness strange and deep surrounds them;</span><br /> +<span class="i2">Phœbus! there death waits for you!</span></div> +</div> + +<p class="staging">[<i><span class="sc">Claude Frollo's</span> earnestness seems to trouble <span class="sc">Phœbus</span>, who looks +at his interrogator with anxiety.</i></p> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i4">He astounds me!</span><br /> +<span class="i4">Ah, he wounds me,</span><br /> +<span class="i0">In spite of myself, with doubt!</span><br /> +<span class="i4">This city great</span><br /> +<span class="i4">Is full of hate,</span><br /> +<span class="i0">And treachery is all about!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i4">I astound him,</span><br /> +<span class="i4">And I wound him,</span><br /> +<span class="i0">In spite of himself, with doubt.</span><br /> +<span class="i4">The fool, he fears,</span><br /> +<span class="i4">And sees and hears</span><br /> +<span class="i0">Nothing but treachery about.</span></div> +</div> +<div class="dialog"> +<span class="i0">Believe me—my lord, avoid the siren</span><br /> +<span class="i0">Who lures you to destruction.</span><br /> +<span class="i0">More than one gypsy in her rage</span><br /> +<span class="i0">Has stabbed a heart palpitating with love.</span> +</div> + +<p class="staging">[<i><span class="sc">Phœbus</span>, whom he tries to drag along, recovers himself and pushes +him off.</i></p> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Have I become a fool?</span><br /> +<span class="i2">Gypsy, Jewess, or Moor,</span><br /> +<span class="i0">The love that questions what she be</span><br /> +<span class="i2">Is love most base and poor.</span><br /> +<span class="i0">The fateful hour is come,</span><br /> +<span class="i2">Unto my love I fly!</span><br /> +<span class="i0">If death be but as sweet as she,</span><br /> +<span class="i2">It will be fine to die!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>holding him</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Consider! A gypsy!</span><br /> +<span class="i2">Your folly is great.</span><br /> +<span class="i0">How dare you thus rashly</span><br /> +<span class="i2">Trifle with fate!</span><br /> +<span class="i0">Oh, dread the false creature</span><br /> +<span class="i2">Who waits in the gloom,</span><br /> +<span class="i0">And do not thus wildly</span><br /> +<span class="i2">Rush to your doom.</span></div> +</div> + +<p class="staging">[<i><span class="sc">Phœbus</span> exits quickly, in spite of <span class="sc">Claude Frollo</span>. <span class="sc">Claude +Frollo</span> stands gloomy and undecided for a moment; then follows +<span class="sc">Phœbus</span>.</i></p> + + +<h4>SCENE III</h4> + +<p class="scene"><i>A chamber. In the background, a window which opens on the river. +<span class="sc">Clopin Frouillefou</span> enters, bearing a torch. He is followed by several +men, to whom he makes a preconcerted sign, and places them in a dark +corner, in which they disappear; then he returns to the door and signals +to some one to come up. <span class="sc">Don Claude</span> appears</i></p> + +<p class="speaker">CLOPIN (<i>to <span class="sc">Claude</span></i>).</p> + +<div class="dialog"> +<span class="i0">From here you can see the captain</span><br /> +<span class="i0">And the gypsy without being seen.</span> +</div> + +<p class="staging">[<i>He shows him an alcove behind some tapestry.</i></p> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">The men are stationed and ready?</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m4">They are ready.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">The projector of this must never be known.</span><br /> +<span class="i0">Silence! take this purse.</span><br /> +<span class="i0">I will give you as much more afterward.</span> +</div> + +<p class="staging">[<i><span class="sc">Claude Frollo</span> hides himself in the alcove. <span class="sc">Clopin</span> exits with +caution. <span class="sc">Esmeralda</span> and <span class="sc">Phœbus</span> enter.</i></p> + +<p class="speaker">CLAUDE FROLLO (<i>aside</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Oh, woman adored,</span><br /> +<span class="i2">Destiny's prey!</span><br /> +<span class="i0">She enters in beauty,</span><br /> +<span class="i2">In tears goes away.</span></div> +</div> + +<p class="speaker">ESMERALDA (<i>to <span class="sc">Phœbus</span></i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">My lord the count,</span><br /> +<span class="i2">My feelings I try to hide.</span><br /> +<span class="i0">My heart is filled with shame,</span><br /> +<span class="i2">And filled also with pride.</span></div> +</div> + +<p class="speaker">PHŒBUS (<i>to <span class="sc">Esmeralda</span></i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">My beauty, white and red,</span><br /> +<span class="i2">I beg you blush no more.</span><br /> +<span class="i0">Love, entering love's domain,</span><br /> +<span class="i2">Leaves fear outside the door.</span></div> +</div> + +<p class="staging">[<i><span class="sc">Phœbus</span> makes <span class="sc">Esmeralda</span> sit down on the bench beside him.</i></p> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Dost thou love me?</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="m3">I love thee!</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>aside</i>).</p> + +<div class="dialog"> +<span class="m4">What torture!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">The adorable creature!</span><br /> +<span class="i0">Upon my soul, you are divine!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Your lips are flatterers;</span><br /> +<span class="i0">You make me feel ashamed.</span><br /> +<span class="i0">I beg of you, don't come so near.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">They love each other. How I envy them!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">My Phœbus! I owe my life to you.</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">And I—I owe my happiness to you.</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i2">Be good to me!</span><br /> +<span class="i2">Oh, try to be</span><br /> +<span class="i0">Gentle, I entreat,</span><br /> +<span class="i2">To the young maid,</span><br /> +<span class="i2">Who much afraid</span><br /> +<span class="i0">Trembles at your feet!</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i2">Oh, my white queen,</span><br /> +<span class="i2">Goddess serene,</span><br /> +<span class="i0">Sovereign of beauty,</span><br /> +<span class="i2">Whose bright eyes shine</span><br /> +<span class="i2">With fires divine</span><br /> +<span class="i0">Of passion and of duty!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i2">I wait for them;</span><br /> +<span class="i2">I hark to them.</span><br /> +<span class="i2">How tender she,</span><br /> +<span class="i2">How handsome he!</span><br /> +<span class="i0">How near their doom!</span><br /> +<span class="i2">Be joyous he,</span><br /> +<span class="i2">And happy she,</span><br /> +<span class="i0">While I prepare their tomb!</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i2">Nymph or woman,</span><br /> +<span class="i2">Saint or human,</span><br /> +<span class="i0">Be my wife to me!</span><br /> +<span class="i2">All day I yearn,</span><br /> +<span class="i2">All night I burn,</span><br /> +<span class="i0">Such is my love for thee!</span></div> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i2">I am woman,</span><br /> +<span class="i2">I am human,</span><br /> +<span class="i0">And my soul afire,</span><br /> +<span class="i2">Trembles ever,</span><br /> +<span class="i2">Longs forever,</span><br /> +<span class="i0">As throbs a lover's lyre!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i2">Woman, wait!</span><br /> +<span class="i2">My flame as great,</span><br /> +<span class="i0">My blade must have its turn.</span><br /> +<span class="i2">Oh! I admire</span><br /> +<span class="i2">These souls afire,</span><br /> +<span class="i0">And these hearts which burn!</span></div> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Be always white and red, my love,</span><br /> +<span class="i2">And smile at our bright lot;</span><br /> +<span class="i0">Smile sweet at love, which we've awaked,</span><br /> +<span class="i2">And chastity, which we've forgot.</span><br /> +<span class="i0">Your mouth is heaven—my heaven, love—</span><br /> +<span class="i2">My soul would cling in bliss</span><br /> +<span class="i0">Upon it, love, and pray that life</span><br /> +<span class="i2">Might end with one long kiss.</span></div> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Your voice delights my ear, love;</span><br /> +<span class="i2">Your smile is sweet and free.</span><br /> +<span class="i0">The laughing passion in your eyes</span><br /> +<span class="i2">Benumbs and conquers me.</span><br /> +<span class="i0">Your wishes are my law, love,</span><br /> +<span class="i2">But I can't yield to this:</span><br /> +<span class="i0">My virtue and my happiness</span><br /> +<span class="i2">Might die in that long kiss!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Don't let them hear your step, Death,</span><br /> +<span class="i2">As near to them you creep!</span><br /> +<span class="i0">My jealous hatred will keep watch</span><br /> +<span class="i2">While their love falls asleep.</span><br /> +<span class="i0">From out their arms so closely locked</span><br /> +<span class="i2">You'll steal away their bliss!</span><br /> +<span class="i0">Phœbus—your wish is granted,</span><br /> +<span class="i2">You die for that long kiss!</span></div> +</div> + +<p class="staging">[<i><span class="sc">Claude Frollo</span> rushes upon <span class="sc">Phœbus</span> and stabs him; then he opens +the window in the back, through which he escapes. With a great cry, +<span class="sc">Esmeralda</span> falls upon the body of <span class="sc">Phœbus</span>. The men stationed at the +corner rush forward, seize her, and seem to accuse her.</i></p> + + + + +<h3>ACT IV</h3> + +<p><span class="sc">Scene.</span>—<i>A prison. Door in the center</i></p> + + +<h4>SCENE I</h4> + +<p class="speaker">ESMERALDA (<i>alone, chained, lying upon a bed of straw</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">What! He in the tomb and I in this cell—</span><br /> +<span class="i2">He a victim and I a prisoner!</span><br /> +<span class="i0">I saw him fall! In truth, he's dead!</span><br /> +<span class="i2">And this crime, this awful crime—</span><br /> +<span class="i2">They say it is my work!</span><br /> +<span class="i0">The stem of our life, while yet green, is broken.</span><br /> +<span class="i0">Phœbus has gone, and he shows me the way.</span><br /> +<span class="i2">Yesterday they made his grave,</span><br /> +<span class="i2">To-morrow they'll make mine!</span></div> +</div> + +<p>ROMANCE</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Phœbus, is there nothing left,</span><br /> +<span class="i0">No help given, to those bereft</span><br /> +<span class="i2">In this cruel wise—</span><br /> +<span class="i0">Neither filters, love, nor charms,</span><br /> +<span class="i0">To assuage the soul's alarms,</span><br /> +<span class="i2">Or reopen closèd eyes?</span></div> +<div class="stanza"> + <span class="i0">God in heaven, I adore thee!</span><br /> +<span class="i0">Every hour I implore thee!</span><br /> +<span class="i0">Deign to end my life to-day</span><br /> +<span class="i0">Or to take my love away!</span></div> +<div class="stanza"> + <span class="i0">Phœbus, let us turn our wings</span><br /> +<span class="i2">Toward the lights supernal,</span><br /> +<span class="i0">Where all things must go at last,</span><br /> +<span class="i2">Where love bides and is eternal.</span><br /> +<span class="i0">On earth our bodies sleep together,</span><br /> +<span class="i0">In heaven our souls will live forever!</span></div> +<div class="stanza"> + <span class="i0">God in heaven, I adore thee!</span><br /> +<span class="i0">Every hour I implore thee!</span><br /> +<span class="i0">Deign to end my life to-day</span><br /> +<span class="i0">Or to take my love away!</span></div> +</div> + +<p class="staging">[<i>The door opens. <span class="sc">Claude Frollo</span> enters, a lamp in his hand, his hood +pulled over his face: he comes and stands, motionless, in front of +<span class="sc">Esmeralda</span>.</i></p> + +<p class="speaker">ESMERALDA (<i>jumping up with terror</i>).</p> + +<div class="dialog"> +<span class="i0">Who is this man?</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>covered by his hood</i>).</p> + +<div class="dialog"> +<span class="i0">A priest!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">A priest! How mysterious!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Are you ready?</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Ready for what?</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Ready to die.</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Yes.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">It is well.</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Will it be soon? Answer me, father!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Do you suffer so much?</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Yes, I suffer.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Perhaps I, who shall live to-morrow,</span><br /> +<span class="i0">Suffer more than you.</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">You? Who, then, are you?</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">The tomb lies between us!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Your name?</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">You wish to know it?</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Yes. [<i>He lifts his hood.</i></span><br /> +<span class="m2">The priest!</span><br /> +<span class="i0">It is the priest! O God! my feeble strength inspire!</span><br /> +<span class="i0">It is indeed his brow of ice, it is his glance of fire!</span><br /> +<span class="i0">'Tis he who has pursued me, remorseless, day and night;</span><br /> +<span class="i0">'Twas he who killed my Phœbus, and slew my heart's delight.</span><br /> +<span class="i0">Monster, from my prison, with death's cold hand on me,</span><br /> +<span class="i0">I'll curse thee, till within the grave my lips shall silent be!</span><br /> +<span class="i0">What have I done to thee? What is thine awful plan?</span><br /> +<span class="i0">What dost thou want with me, relentless, impious man?</span><br /> +<span class="i0">You hate me!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i2">I love you!</span><br /> +<span class="i0">I love you—it is infamous!</span><br /> +<span class="i2">Oh, shame to my priesthood!</span><br /> +<span class="i0">This love, it is my soul;</span><br /> +<span class="i2">This love, it is my blood!</span><br /> +<span class="i0">At your feet I fall;</span><br /> +<span class="i2">Hear my heart, which cries,</span><br /> +<span class="i0">I prefer your tomb</span><br /> +<span class="i2">Unto Paradise.</span></div> +</div> + +<div class="dialog"> +<span class="i0">Pity me. I love you! Your pity I implore!</span><br /> +<span class="i0">For you I've sinned. Have mercy, do not curse me more!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">He loves me! Oh, crown of horrors!</span><br /> +<span class="i0">He holds me—this horrible sorcerer!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">The only living thing in me</span><br /> +<span class="i0">Is my love and my anguish!</span><br /> +<span class="i2">Hopeless anguish,</span><br /> +<span class="i4">Wretched plight!</span><br /> +<span class="i2">Alas! I love her,</span><br /> +<span class="i4">Painful night!</span></div> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Awful moment,</span><br /> +<span class="i2">Cruel fright!</span><br /> +<span class="i0">Heaven! He loves me,</span><br /> +<span class="i2">Fearful night.</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>aside</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">She shudders, quivers in my arms;</span><br /> +<span class="i2">The priest has won his chance at last!</span><br /> +<span class="i0">By night I bore her, once, away;</span><br /> +<span class="i2">Now, in the day, I'll hold her fast!</span><br /> +<span class="i0">Death, which follows in my train,</span><br /> +<span class="i0">Will give her back to love again!</span></div> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Pity—pity, let me go!</span><br /> +<span class="i0">Phœbus is dead; he waits above.</span><br /> +<span class="i0">Alas! I tremble, I'm afraid,</span><br /> +<span class="i0">I shiver at your frightful love,</span><br /> +<span class="i0">E'en as the bird which, tortured, dies</span><br /> +<span class="i0">Beneath the vulture's cruel eyes!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Accept me, I love you! Refuse me no more!</span><br /> +<span class="i0">Have pity for me, for yourself, I implore!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Your prayer is an insult.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="m3">Would you rather die?</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">The body dies—the soul lives!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">To die is terrible!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Hush! your impious words!</span><br /> +<span class="i0">Your love makes death beautiful!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Choose! choose! Or Claude or death!</span> +</div> + +<p class="staging">[<i><span class="sc">Claude</span> falls at <span class="sc">Esmeralda's</span> feet in supplication. She repels him.</i></p> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">No, murderer, I will not! Hush!</span><br /> +<span class="i2">A crime is this foul love you've nursed.</span><br /> +<span class="i0">Better the tomb to which I fly—</span><br /> +<span class="i2">Be cursed amid the most accursed!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Tremble, for the scaffold claims you!</span><br /> +<span class="i2">You know not what awful schemes</span><br /> +<span class="i0">This breast of fury has engendered;</span><br /> +<span class="i2">And hell abets me in my dreams.</span><br /> +<span class="i4">How I love thee!</span><br /> +<span class="i6">Thy hand give,</span><br /> +<span class="i4">And to-morrow</span><br /> +<span class="i6">Thou shalt live!</span><br /> +<span class="i4">Night benumbed</span><br /> +<span class="i6">With terror's breath!</span><br /> +<span class="i4">Tears for me,</span><br /> +<span class="i6">For thee death!</span><br /> +<span class="i4">Say, "I love thee!"</span><br /> +<span class="i6">Cease thy scorning;</span><br /> +<span class="i4">Thy last day</span><br /> +<span class="i6">Is dawning!</span><br /> +<span class="i0">Ah! since in vain I supplicate,</span><br /> +<span class="i2">In vain thy hate I fight,</span><br /> +<span class="i0">Farewell forever! One day more,</span><br /> +<span class="i2">Then comes eternal night.</span></div> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Inhuman priest.</span><br /> +<span class="i2">Go! I abhor thee!</span><br /> +<span class="i0">His dear blood yet</span><br /> +<span class="i2">Seems dripping o'er thee,</span><br /> +<span class="i0">Oh, night of horror,</span><br /> +<span class="i2">Night of shame!</span><br /> +<span class="i0">Enough of tears;</span><br /> +<span class="i2">Death I claim!</span><br /> +<span class="i0">In prison I brave thee,</span><br /> +<span class="i2">In chains defy!</span><br /> +<span class="i0">Be thou accursed</span><br /> +<span class="i2">Eternally!</span></div> +</div> +<div class="dialog"> +<span class="i0">Thy passion be thy punishment!</span><br /> +<span class="i0">To God my love leads me:</span><br /> +<span class="i0">The gates of heaven he'll open,</span><br /> +<span class="i0">But hell shall close o'er thee!</span> +</div> + +<p class="staging">[<i>A jailer appears. <span class="sc">Claude Frollo</span> signs to him to lead out +<span class="sc">Esmeralda</span>. He exits while they drag forth the gypsy.</i></p> + + +<h4>SCENE II</h4> + +<p class="scene"><i>The area before Notre Dame; the front of the church. The sound of bells +is heard</i></p> + +<p class="speaker">QUASIMODO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i2">My God! I love,</span><br /> +<span class="i2">Except myself,</span><br /> +<span class="i2">All that's here—</span><br /> +<span class="i2">The air which passes,</span><br /> +<span class="i2">And which chases</span><br /> +<span class="i2">Away care;</span><br /> +<span class="i2">And the swallow</span><br /> +<span class="i2">Who is faithful</span><br /> +<span class="i2">To the old roof;</span><br /> +<span class="i2">The chapels high</span><br /> +<span class="i2">O'ershadowed by</span><br /> +<span class="i2">The Holy Cross;</span><br /> +<span class="i2">Every rose</span><br /> +<span class="i2">That grows;</span><br /> +<span class="i2">Every sight</span><br /> +<span class="i2">Of delight!</span></div> +<div class="stanza"> +<span class="i2">Sad creature, I—</span><br /> +<span class="i2">Uncouth, ill-made!</span><br /> +<span class="i2">None envies me!</span><br /> +<span class="i2">This is life</span><br /> +<span class="i2">As it is!</span><br /> +<span class="i2">Darkest night,</span><br /> +<span class="i2">Bluest sky,</span><br /> +<span class="i2">What matters it?</span><br /> +<span class="i2">Every door</span><br /> +<span class="i2">Leads to God.</span><br /> +<span class="i2">Ignoble scabbard,</span><br /> +<span class="i2">Noble blade;</span><br /> +<span class="i2">Fair my soul</span><br /> +<span class="i2">God has made.</span></div> +<div class="stanza"> +<span class="i0">Ring, bells small and great—</span><br /> +<span class="i0">Ring on, ring on!</span><br /> +<span class="i0">Mix well your voices,</span><br /> +<span class="i0">Gruff and sweet!</span><br /> +<span class="i0">In the turrets,</span><br /> +<span class="i0">In the tower,</span><br /> +<span class="i0">Sing your song!</span></div> +<div class="stanza"> +<span class="i0">How they ring!</span><br /> +<span class="i0">With all their might,</span><br /> +<span class="i0">Let them hum</span><br /> +<span class="i0">Day and night!</span><br /> +<span class="i0">Our festival shall be</span><br /> +<span class="i0">Magnificent, I swear!</span><br /> +<span class="i0">Assail it fiercer yet,</span><br /> +<span class="i0">The palpitating air!</span><br /> +<span class="i0">The stupid peasants run,</span><br /> +<span class="i0">And o'er the bridges tear!</span></div> +<div class="stanza"> +<span class="i2">Let them ring,</span><br /> +<span class="i2">Let them hum,</span><br /> +<span class="i2">Day and night!</span><br /> +<span class="i2">Every feast</span><br /> +<span class="i2">Is increased</span><br /> +<span class="i2">By their might!</span></div> +</div> + +<p class="staging">[<i>He turns toward the front of the church.</i></p> + +<div class="dialog"> +<span class="i0">I saw black hangings in the chapel.</span><br /> +<span class="i0">Are they dragging some misery here?</span><br /> +<span class="i0">God! a presentiment! I'll not believe it!</span> + +<p class="staging">[<i>Enter <span class="sc">Claude Frollo</span> and <span class="sc">Clopin</span> without perceiving <span class="sc">Quasimodo</span>.</i></p> + +<span class="i0">It is my master! I'll observe him. He is gloomy too!</span> + +<p class="staging">[<i>He hides himself in an obscure angle of the porch.</i></p> + +<span class="i0">Oh, my mistress! Oh, Notre Dame!</span><br /> +<span class="i0">Take my life! save my soul!</span> +</div> + + + +<h4>SCENE III</h4> + +<p class="scene"><i><span class="sc">Quasimodo</span> hidden, <span class="sc">Claude Frollo, Clopin</span></i></p> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">So Phœbus is at Montfort?</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">My lord, he is not dead!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Provided nothing brings him here!</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">Do not fear it;</span><br /> +<span class="i0">He is too feeble yet for such a journey.</span><br /> +<span class="i0">If he came, 'twould be his death.</span><br /> +<span class="i0">My lord, you can feel sure</span><br /> +<span class="i0">That every step would reopen his wound;</span><br /> +<span class="i0">Do not fear anything this morning.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Oh! let me hold her just to-day</span><br /> +<span class="i0">For life or death within my power!</span><br /> +<span class="i0">Hell! I'll give you all the rest,</span><br /> +<span class="i0">If you grant me this one hour!</span><br /> +<span class="i0">[<i>To <span class="sc">Clopin</span>.</i>] They will soon bring the gypsy here!</span><br /> +<span class="i0">You remember everything!</span><br /> +<span class="i0">In the square—with your men—</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">Yes.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="m2">Keep in the shadow;</span><br /> +<span class="i0">If I cry, "To me!" you come.</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">Yes!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="m2">Have plenty with you!</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="i0">If you cry, "To me!"</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Yes.</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m2">I rush to her,</span><br /> +<span class="i0">I tear her from the King's men—</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Yes.</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m2">And give her to you.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Go, mix among the crowd,</span><br /> +<span class="i2">And perhaps she</span><br /> +<span class="i0">Will look upon the priest</span><br /> +<span class="i2">More tenderly;</span><br /> +<span class="i0">Then rush—rush all of you—</span></div> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m4">Yes, my master!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Hold yourselves close!</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m3">Yes.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Hide your arms,</span><br /> +<span class="i0">Not to excite suspicion!</span> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="dialog"> +<span class="m3">Master, you shall see!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">But hell may take her quick,</span><br /> +<span class="i2">With my good-will,</span><br /> +<span class="i0">If now this insane creature</span><br /> +<span class="i2">Refuses still!</span></div> +<div class="stanza"> +<span class="i0">Destiny! Oh, fatal stroke!</span><br /> +<span class="i2">Friend, I count on thee!</span><br /> +<span class="i0">On this my only chance I wait</span><br /> +<span class="i2">With fierce anxiety.</span></div> +</div> + +<p class="speaker">CLOPIN.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Fear nothing terrible, my lord,</span><br /> +<span class="i2">Count faithfully on me,</span><br /> +<span class="i0">And on this last and only chance</span><br /> +<span class="i2">Rely courageously!</span></div> +</div> + +<p class="staging">[<i>They go out hurriedly. The populace begin to enter the square.</i></p> + + +<h4>SCENE IV</h4> + +<p class="scene"><i>The populace; <span class="sc">Quasimodo;</span> afterward <span class="sc">Esmeralda</span>, and her escort; then +<span class="sc">Claude Frollo, Phœbus, Clopin Frouillefou</span>, priests, archers, +officers of the law</i></p> + +<p class="speaker">CHORUS.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">To Notre Dame</span><br /> +<span class="i2">Come, get a sight</span><br /> +<span class="i0">Of the young woman</span><br /> +<span class="i2">Who dies to-night!</span></div> +<div class="stanza"> + <span class="i0">This gypsy woman</span><br /> +<span class="i2">Who stabbed, they say,</span><br /> +<span class="i0">The handsomest officer</span><br /> +<span class="i2">In the King's pay.</span></div> +<div class="stanza"> + <span class="i0">In vain did Heaven</span><br /> +<span class="i2">Beauty lend her!</span><br /> +<span class="i0">Is it possible—</span><br /> +<span class="i2">God defend her!—</span><br /> +<span class="i0">A soul so black,</span><br /> +<span class="i2">An eye so tender!</span></div> +<div class="stanza"> + <span class="i0">A frightful thing,</span><br /> +<span class="i2">Human nature is so!</span><br /> +<span class="i0">The poor unfortunate!</span><br /> +<span class="i2">Come, let us go</span><br /> +<span class="i0">To Notre Dame</span><br /> +<span class="i2">To get a sight</span><br /> +<span class="i0">Of the young woman</span><br /> +<span class="i2">Who dies to-night!</span></div> +</div> + +<p class="staging">[<i>The crowd increases; noise; a gloomy procession begins to appear on the +Place du Parvis. Rows of black penitents. Banners of La Miséricorde. +Torches, archers, officers of the law and the watch. The soldiers +disperse the crowd. <span class="sc">Esmeralda</span> appears. She wears a chemise; a rope is +around her neck; her feet are bare, and she is covered with a long black +veil of crape. Following her, come the executioners and the King's +officers. As the prisoner reaches the front of the church, a somber +chant is heard in the distance, coming from the interior of the church, +whose doors are closed.</i></p> + +<p class="speaker">CHORUS (<i>in the church</i>).</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Omnes fluctus fluminis</span><br /> +<span class="i0">Transierunt super me</span><br /> +<span class="i0">In imo voraginis</span><br /> +<span class="i0">Ubi plorant animæ.</span></div> +</div> + +<p class="staging">[<i>The chant draws nearer. It bursts forth, at length, when near the +doors, which open suddenly and discover the interior of the church. It +is filled with a long procession of priests in their robes of ceremony; +banners are borne before them. <span class="sc">Claude Frollo</span>, in sacerdotal costume, +leads the procession. He goes toward the criminal.</i></p> + +<p class="speaker">THE PEOPLE.</p> + +<div class="dialog"> +<span class="i0">Alive to-day, to-morrow dead!</span><br /> +<span class="i0">Heaven! thy wings around her spread!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">It is Phœbus who calls me</span><br /> +<span class="i2">Unto our home eternal,</span><br /> +<span class="i0">Where God will hold us in His arms,</span><br /> +<span class="i2">Safe from misfortunes cruel.</span><br /> +<span class="i0">Though plunged in the abyss of woe,</span><br /> +<span class="i2">A joyful hope is given:</span><br /> +<span class="i0">I am to die upon the earth</span><br /> +<span class="i2">To be re-born in heaven!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">To die so young, so beautiful!</span><br /> +<span class="i2">Alas! the guilty priest</span><br /> +<span class="i0">Must suffer greater woe than she;</span><br /> +<span class="i2">He ne'er will be released.</span><br /> +<span class="i0">Oh, hapless child of sorrow,</span><br /> +<span class="i2">Lost through my infamy,</span><br /> +<span class="i0">You only die from off this earth,</span><br /> +<span class="i2">While heaven is lost to me!</span></div> +</div> + +<p class="speaker">THE PEOPLE.</p> + +<div class="verse"> +<div class="stanza"> +<span class="i0">Alas! she is an infidel.</span><br /> +<span class="i2">God's words, unto us spoken,</span><br /> +<span class="i0">Say that in heaven for such as she</span><br /> +<span class="i2">No blessed gate shall open.</span><br /> +<span class="i0">Death holds her fast, what misery!</span><br /> +<span class="i2">She can escape it, never!</span><br /> +<span class="i0">She dies unto the world this day,</span><br /> +<span class="i2">And unto heaven forever!</span></div> +</div> + +<p class="staging">[<i>The procession approaches. <span class="sc">Claude</span> accosts <span class="sc">Esmeralda</span>.</i></p> + +<p class="speaker">ESMERALDA (<i>frozen with terror</i>).</p> + +<div class="dialog"> +<span class="i0">It is the priest!</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>low</i>).</p> + +<div class="dialog"> +<span class="i0">Yes, it is I! I love you, I entreat you!</span><br /> +<span class="i0">Say but one word! 'Tis not too late;</span><br /> +<span class="i0">I can yet save you!</span><br /> +<span class="i0">Say, I love you!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="m3">I abhor you! Go!</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Then die! I'll go where I can find you!</span> + +<p class="staging">[<i><span class="sc">Claude</span> turns to the crowd.</i></p> + +<span class="i0">We deliver this woman to the secular arm;</span><br /> +<span class="i0">At this solemn moment may the breath of the Lord</span><br /> +<span class="i0">Pass over her soul!</span> +</div> + +<p class="staging">[<i>As the officers of the law are about to seize <span class="sc">Esmeralda</span>, <span class="sc">Quasimodo</span> +jumps into the square, thrusts back the archers, takes <span class="sc">Esmeralda</span> in +his arms, and throws himself with her into the church.</i></p> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Sanctuary! sanctuary! sanctuary!</span> +</div> + +<p class="speaker">THE PEOPLE.</p> + +<div class="dialog"> +<span class="i0">Sanctuary! sanctuary! sanctuary!</span><br /> +<span class="i0">Rejoice, O people!</span><br /> +<span class="i0">Hail to the good bell-ringer!</span> +</div> +<div class="verse"> +<div class="stanza"> +<span class="i0">Oh, destiny!</span><br /> +<span class="i0">The criminal</span><br /> +<span class="i0">Belongs to heaven!</span><br /> +<span class="i0">The scaffold falls!</span><br /> +<span class="i0">The eternal God</span><br /> +<span class="i0">Instead of a tomb</span><br /> +<span class="i0">Discloses the altar!</span><br /> +<span class="i0">Executioners, back!</span><br /> +<span class="i0">King's officers, back!</span><br /> +<span class="i0">This barrier</span><br /> +<span class="i0">Limits your power.</span><br /> +<span class="i0">Thou hast changed</span><br /> +<span class="i0">Everything here.</span><br /> +<span class="i0">The angels claim her;</span><br /> +<span class="i0">She belongs to God!</span></div> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>commanding silence by a gesture</i>).</p> + +<div class="dialog"> +<span class="i0">She is not saved! She is a gypsy!</span><br /> +<span class="i0">Notre Dame can save none but Christians!</span><br /> +<span class="i0">Pagans are proscribed even when clasping the altar!</span><br /> +<span class="i0">[<i>To the King's men.</i>] In the name of my lord the Archbishop of Paris,</span><br /> +<span class="i0">I give you back this sinful woman!</span> +</div> + +<p class="speaker">QUASIMODO (<i>to the archers</i>).</p> + +<div class="dialog"> +<span class="i0">I will defend her! I swear it.</span><br /> +<span class="i0">Approach us not!</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>to the archers</i>).</p> + +<div class="dialog"> +<span class="m3">Do you hesitate?</span><br /> +<span class="i0">Obey me, on the instant!</span><br /> +<span class="i0">Tear the gypsy from this holy place.</span> +</div> + +<p class="staging">[<i>The archers advance. <span class="sc">Quasimodo</span> places himself between them and +<span class="sc">Esmeralda</span>.</i></p> + +<p class="speaker">QUASIMODO.</p> + +<div class="dialog"> +<span class="i0">Never!</span> + +<p class="staging">[<i>A horseman is heard approaching. He calls out</i>:</p> + +<span class="m2">Wait! [<i>The crowd disperses.</i></span> +</div> + +<p class="speaker">PHŒBUS (<i>appearing on horseback. He is pale, +breathless, exhausted as is a man who has made a long journey</i>).</p> + +<div class="dialog"> +<span class="m3">Wait!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Phœbus!</span> +</div> + +<p class="speaker">CLAUDE FROLLO (<i>aside, terrified</i>).</p> + +<div class="dialog"> +<span class="m2">My plot has failed.</span> +</div> + +<p class="speaker">PHŒBUS (<i>leaping from his horse</i>).</p> + +<div class="dialog"> +<span class="i0">God be praised! I breathe</span><br /> +<span class="i0">And I arrive in time!</span><br /> +<span class="i0">This girl is innocent.</span><br /> +<span class="i0">Behold my assassin!</span> +</div> + +<p class="staging">[<i>Points to <span class="sc">Claude Frollo</span>.</i></p> + +<p class="speaker">ALL.</p> + +<div class="dialog"> +<span class="m3">Heavens! the priest!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">The priest alone is guilty, and I will prove it!</span><br /> +<span class="i0">Arrest him!</span> +</div> + +<p class="speaker">THE PEOPLE.</p> + +<div class="dialog"> +<span class="m2">Oh, wonder!</span> +</div> + +<p class="staging">[<i>The archers surround <span class="sc">Claude Frollo</span>.</i></p> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">God alone is Master!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Phœbus!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="m2">Esmeralda!</span> +</div> + +<p class="staging">[<i>They fall into each other's arms.</i></p> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">My adored Phœbus, we shall live!</span> +</div> + +<p class="speaker">PHŒBUS.</p> + +<div class="dialog"> +<span class="i0">Thou shalt live!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="m3">For us shines happiness!</span> +</div> + +<p class="speaker">THE PEOPLE.</p> + +<div class="dialog"> +<span class="i0">Live, both of you!</span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="m3">Hear these joyous shouts!</span><br /> +<span class="i0">At thy feet receive me, humble girl!</span><br /> +<span class="i0">Heavens! thou art pale! What is the matter?</span> +</div> + +<p class="speaker">PHŒBUS (<i>staggering</i>).</p> + +<div class="dialog"> +<span class="i0">I die!</span> + +<p class="staging">[<i>She catches him in her arms. Expectation and anxiety among the crowd.</i></p> + +<span class="i0">Each step I took toward you, my beloved,</span><br /> +<span class="i0">Reopened my wound, that was hardly healed.</span><br /> +<span class="i0">I have taken your grave and given you life.</span><br /> +<span class="i0">I die! Destiny has avenged thee.</span><br /> +<span class="i0">My angel, I go to see</span><br /> +<span class="i0">If heaven is worth thy love!</span><br /> +<span class="i0">Farewell! [<i>He dies.</i></span> +</div> + +<p class="speaker">ESMERALDA.</p> + +<div class="dialog"> +<span class="i0">Phœbus! He dies! In an instant everything is changed!</span> + +<p class="staging">[<i>She falls upon his body.</i></p> + +<span class="i0">I follow you into eternity.</span> +</div> + +<p class="speaker">CLAUDE FROLLO.</p> + +<div class="dialog"> +<span class="i0">Fatality!</span> +</div> + +<p class="speaker">THE PEOPLE.</p> + +<div class="dialog"> +<span class="m2">Fatality!</span> +</div> + + + + +<div id="tnotes"> +<p>Transcriber's Notes:</p> + +<p>A few minor typographical errors have been silently corrected. Names of +characters have been regularized, but other variant spellings have been +left as they were printed. Page numbers have been removed from the table +of contents.</p> +</div> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's The Dramas of Victor Hugo, by Victor Hugo + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DRAMAS OF VICTOR HUGO *** + +***** This file should be named 39133-h.htm or 39133-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/9/1/3/39133/ + +Produced by Andrew Sly, Chuck Greif and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +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 Dramas of Victor Hugo + Mary Tudor, Marion de Lorme, Esmeralda + +Author: Victor Hugo + +Release Date: March 14, 2012 [EBook #39133] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE DRAMAS OF VICTOR HUGO *** + + + + +Produced by Andrew Sly, Chuck Greif and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + +THE DRAMAS + +OF + +VICTOR HUGO + +MARY TUDOR + +MARION DE LORME + +ESMERALDA + +Profusely Illustrated with Elegant +Wood Engravings + +_VOLUME TWENTY-ONE_ + +NEW YORK + +Peter Fenelon Collier, Publisher + + + + +CONTENTS + + +_VOLUME TWENTY-ONE_ + + Mary Tudor + + Marion de Lorme + + Esmeralda + + +ILLUSTRATIONS + +The Rendezvous Frontispiece + +Marion de Lorme + + + +[Illustration: THE RENDEZVOUS.] + + + +MARY TUDOR + + + + +DRAMATIS PERSONAE + + Mary, The Queen. + Jane. + Gilbert. + Fabiano Fabiani. + Simon Renard. + Joshua Farnaby. + A Jew. + Lord Clinton. + Lord Chandos. + Lord Montague. + Master Eneas Dulverton. + Lord Gardiner. + A Jailer. + _Lords, Pages, Guards, the Executioner._ + +LONDON, 1553. + + + + +MARY TUDOR + +_FIRST DAY_ + +A MAN OF THE PEOPLE + +Scene.--_Border of the Thames. A deserted strand. An old parapet in +ruins, conceals the borders of the water. To the right, a house of +mean appearance. At the corner of this house, a statuette of the +Virgin, at whose feet burns a wick in an iron lattice. In the +background, beyond the Thames, London. Two high buildings are +seen--the Tower of London and Westminster. The sun is setting_ + + + +SCENE I + + +_Several men are grouped here and there on the Strand, among whom are +Simon Renard, John Bridges, Baron Chandos, Robert Clinton, Anthony +Brown, Viscount of Montague_ + + +LORD CHANDOS. + +You are right, my lord, this damned Italian must have bewitched the +Queen. She can't exist without him; she lives only for him, finds +pleasure only in him, listens only to him. If a day passes without +seeing him, her eyes droop as they did when she loved Cardinal Polus, +you remember? + +SIMON RENARD. + +She is very much in love, it is true, and, consequently, very +jealous. + +LORD CHANDOS. + +The Italian has bewitched her. + +LORD MONTAGUE. + +For a fact, they say that people of his nationality have philters for +that purpose. + +LORD CLINTON. + +The Spanish are clever at poisons which kill people, the Italians are +clever at poisons which make people fall in love. + +LORD CHANDOS. + +Then Fabiani is Spanish and Italian, at the same time. The Queen is +in love and is ill. He has made her drink both. + +LORD MONTAGUE. + +As to that, is he really Spanish or Italian? + +LORD CHANDOS. + +It appears certain that he was born in Italy, in the Capitanate, and +that he was brought up in Spain. He claims to be connected with a +great Spanish family. Lord Clinton has the story at his finger-tips. + +LORD CLINTON. + +An adventurer--neither Spanish nor Italian, and still less English, +thank God! These men without a country have no pity on a country, +when they become powerful. + +LORD MONTAGUE. + +Didn't you say the Queen was ill, Chandos? That does not hinder her +from leading a very gay life with her favorite! + +LORD CLINTON. + +A gay life! A gay life! The people weep while the Queen laughs and +the favorite is gorged. This man eats silver and drinks gold! The +Queen has given him the estates of Lord Talbot, the great Lord +Talbot! The Queen has made him Earl of Clanbrassil and Baron of +Dinasmonddy, this Fabiano Fabiani who says he belongs to the Spanish +family of Penalver, and who lies when he says it. He is an English +peer like you, Montague, like you, Chandos, like Stanley, like +Norfolk, like myself, like the King! He has the garter, the same as +the Infante of Portugal, as the King of Denmark, as Thomas Percy, +seventh Earl of Northumberland. And what a tyrant is this tyrant who +rules us from his bed! Never did such a curse rest upon England! And +yet I have seen much--I, who am old! There are seventy new gallows at +Tyburn; the stakes are always embers and never ashes; the +executioner's ax is sharp every morning and blunted every night. +Every day some great nobleman is slaughtered; the day before +yesterday it was Blantyre, yesterday Northcurry, to-day South-Reppo, +to-morrow Tyrconnel. Next week it will be you, Chandos, and next +month it will be I. My lords, my lords, it is shameful and outrageous +that all these honest English heads should fall to please a miserable +adventurer who does not even belong to our country! It is a frightful +and unbearable thing, to think that a Neapolitan favorite can drag as +many blocks as he likes from under this Queen's bed. These two lead a +gay life, you say? By Heaven, it is infamous! Ah, they lead a gay +life, these lovers, while the headsman, at their door, makes widows +and orphans! Oh, their Italian guitar is too well accompanied by the +clank of chains! Madame Queen! you send to the chapel of Avignon for +your singers; every day in your palace, you have comedies, plays, and +a stage crowded with musicians! Upon my life, madame, less joy at +your house and less mourning at ours, if you please; fewer dancers +there, and fewer executioners here; fewer farces at Westminster, and +fewer scaffolds at Tyburn! + +LORD MONTAGUE. + +Have a care, my Lord Clinton! We are loyal subjects! Not a word +against the Queen, everything against Fabiani. + +SIMON RENARD (_laying his hand on Lord Clinton's shoulder_). + +Have patience! + +LORD CLINTON. + +Patience! That is easy enough for you to say, Mr. Simon Renard! You +are bailiff of Amont in Franche-Comte, subject of the Emperor, and +his embassador at London. You represent the Prince of Spain, the +Queen's future husband. Your person is sacred to the favorite. But it +is different with us. You see, for you, Fabiani is the lover; for us +he is the butcher! [_It is night._ + +SIMON RENARD. + +This man troubles me as much as you! You tremble only for your life. +I tremble for my power. That means much more. I do not talk; I act. I +feel less anger than you, perhaps, but I feel more hate. I will +destroy the favorite. + +LORD MONTAGUE. + +Yes! but how to do it! I think of it all day. + +SIMON RENARD. + +It is not in the daytime that the favorites of queens are made and +unmade; it is at night. + +LORD CHANDOS. + +This night is dark and frightful. + +SIMON RENARD. + +I find it good for what I wish to do. + +LORD CHANDOS. + +What do you mean to do? + +SIMON RENARD. + +You shall see. My Lord Chandos, when a woman reigns, caprice reigns. +Politics are no longer a matter of calculation then, but of chance. +You can count upon nothing. To-day does not logically bring +to-morrow. Public affairs are no longer like a game of chess, but a +game of cards. + +LORD CLINTON. + +That is all very well; but let us come to the point. When will you +deliver us from the favorite? Time is pressing. To-morrow Tyrconnel +will be beheaded. + +SIMON RENARD. + +If I find the man I am looking for, to-night, Tyrconnel will sup with +you to-morrow. + +LORD CLINTON. + +What do you mean? What will have become of Fabiani? + +SIMON RENARD. + +Have you good eyes, my lord? + +LORD CLINTON. + +Yes, although I am old and the night is dark. + +SIMON RENARD. + +Do you see London on the other side of the water? + +LORD CLINTON. + +Yes. Why? + +SIMON RENARD. + +Look well! From here you can see the height and the depth of every +favorite's fortune--Westminster and the Tower of London. + +LORD CLINTON. + +Well? + +SIMON RENARD. + +If God is with me, there is a man who at this moment is yet there +[_pointing to Westminster_], and who to-morrow, at the same time, +will be here [_pointing to the Tower_]. + +LORD CLINTON. + +Pray God be with you! + +LORD MONTAGUE. + +The people hate him no less than we do. What a festival will his fall +make in London! + +LORD CHANDOS. + +We have placed ourselves in your hands, Sir Bailiff. Dispose of us. +What must we do? + +SIMON RENARD (_indicating a house, near to the water_). + +You all see that house. It is the house of Gilbert the engraver. Do +not lose sight of it. Now go away with your people, but don't go too +far. Above all, do nothing without me. + +LORD CHANDOS. + +It is agreed. [_They all exit at different sides._ + +SIMON RENARD (_alone_). + +The man I need is not easy to find. + +[_He exits. Jane and Gilbert enter, arm in arm; they go toward +the house. Joshua Farnaby, enveloped in a long cloak, accompanies +them._ + + + +SCENE II + +Jane, Gilbert, Joshua Farnaby + +JOSHUA. + +I must leave you here, my good friends. It is midnight, and I must go +back to my post of turnkey of the Tower of London. I am not as free +as you are, you see! A turnkey is only another kind of prisoner! +Good-by, Jane! Good-by, Gilbert. Ah, my friends, how glad I am to see +you happy! When is the wedding, Gilbert? + +GILBERT. + +In one week, isn't it, Jane? + +JOSHUA. + +Faith! day after to-morrow is Christmas. This is the day of good +wishes and presents. But I have nothing to wish you. It would be +impossible to wish more beauty to the bride or more love to the +bridegroom. You are fortunate. + +GILBERT. + +Good Joshua! And you, are you not happy? + +JOSHUA. + +Neither happy nor unhappy. As for me, I have given up everything. +Look you, Gilbert [_opening his cloak and disclosing a bunch of keys +hanging to his belt_], prison keys always jingling at your side, talk +to you, suggest all sorts of philosophical ideas to you. When I was +young, I was like the rest--in love for a day, ambitious for a month, +mad a whole year. It was during the reign of Henry VIII. that I was +young. Strange man that Henry VIII.! A man who changed his wives as a +woman changes her dresses. He repudiated the first, had the second +beheaded, had the third's womb cut open; as for the fourth, he had +mercy on her--he sent her off; but for revenge he had the fifth's +head cut off! This isn't the story of Bluebeard I am telling you, my +beautiful Jane; it is the history of Henry VIII. In those days I +interested myself in the religious wars; I fought first for one side +and then for the other. That was the wisest thing to do. The whole +business was very ticklish. It was whether to be for or against the +Pope. The King's officers hanged those who were for, but they burned +those who were against. The neutral people--those who neither were +for nor against--they hanged them or they burned them +indiscriminately. We managed as we could. Yes, the rope; no, the +fagot. I, who am speaking to you, I smelled of burning very often, +and I am not sure that I was not un-hanged two or three times. Those +were great times; very much like the times now. The devil take me if +I know now whom I fought for or what I fought about. If people speak +to me now about Master Luther and Pope Paul III., I shrug my +shoulders. You see, Gilbert, when a man has gray hairs he shouldn't +go back to the opinions he fought for nor the women he loved when he +was twenty. The women and the opinions will seem very ugly, very old, +very paltry, very silly, very much wrinkled and out of date. Such is +my history. Now I am through with public affairs. I am no longer the +King's soldier nor the Pope's soldier; I am jailer of the Tower of +London. I don't fight any more for anybody, and I put everybody under +lock and key. I am turnkey and I am old. I have one foot in a prison +and the other in the grave. I am the one who picks up the remnants of +all the ministers and favorites who go to pieces in the Queen's +palace. It is very amusing. I have also a little child whom I love, +and you both whom I love too; and if you are happy, I am happy also. + +GILBERT. + +If that is the case, you can be happy; can't he, Jane? + +JOSHUA. + +I can't do anything to add to your happiness, but Jane can do +everything. You love her. I may never be able to do anything for you. +Fortunately for you, you are not high and mighty enough to ever need +the help of the turnkey of the Tower of London. Jane will pay my debt +at the same time that she pays her own, because she and I owe +everything to you. Jane was but a poor child, a forsaken orphan; you +took her home and brought her up. I was drowning in the Thames, one +fine day, and you dragged me out of the water. + +GILBERT. + +Why do you always talk about that, Joshua? + +JOSHUA. + +In order to tell you that our duty, Jane's and mine, is to love you. +I, as a brother; and she, not as a sister. + +JANE. + +No, as a woman. I understand you, Joshua. [_She sinks back into her +reverie._ + +GILBERT. + +Look at her, Joshua! Is she not beautiful and attractive, and is she +not worthy of a king? If you only knew! You cannot imagine how I love +her! + +JOSHUA. + +Be careful! It is dangerous. A woman should not be loved so much as +that. With a child, it is different. + +GILBERT. + +What do you mean? + +JOSHUA. + +Nothing. I will be at your wedding next week. I hope State affairs +will leave me a little liberty then, and that everything will be +finished. + +GILBERT. + +How? What will be finished? + +JOSHUA. + +Ah, these things do not interest you, Gilbert. You are in love; you +belong to the people. What do the intrigues of the high-born matter +to you, who are happy among the low-born? But since you ask me, I +will tell you that within one week, perhaps within twenty-four hours, +it is hoped that Fabiano Fabiani's place near the Queen will be +filled by another. + +GILBERT. + +Who is Fabiano Fabiani? + +JOSHUA. + +The Queen's lover: a very celebrated and a very fascinating +favorite--a favorite who has had his enemies' heads chopped off with +greater dispatch than a procuress can repeat an "Ave"; the best +favorite that the executioner of the Tower of London has had for ten +years. For you must know that every great lord's head that falls, +brings in ten silver crowns to the executioner--sometimes twice as +much, when the head is very distinguished. The fall of this Fabiani +is greatly desired; though, I must say, during my duties at the +Tower, it is only the bad-tempered people whom I hear find fault with +him--the discontented people; those whose heads are to fall next +month. + +GILBERT. + +Let the wolves rend each other! What do we care about the Queen and +the Queen's favorite? Isn't it so, Jane? + +JOSHUA. + +There is a big conspiracy against Fabiani; if he escapes, he will be +lucky. I should not be surprised if they were to strike some blow +to-night. I just saw Master Simon Renard prowling about here, very +much absorbed. + +GILBERT. + +Who is Master Simon Renard? + +JOSHUA. + +Is it possible that you don't know? He is the Emperor's right hand at +London. The Queen is to marry the Prince of Spain, and Simon Renard +is his embassador to her. The Queen hates him, this Simon Renard; but +she is afraid of him, and she can't do anything to him. He has +already destroyed two or three favorites. It seems to be his instinct +to destroy favorites. He clears up the palace from time to time. He +is a shrewd and spiteful man; he knows all that goes on, and he digs +two or three subterranean rows of intrigues under every event. As for +Lord Paget--didn't you ask me who was Lord Paget?--he is a crafty +nobleman who helped to manage affairs under Henry VIII. He is a +member of the secret council. He has such an ascendency that the +other ministers do not dare to breathe in his presence--except, +however, the chancellor, my Lord Gardiner, who detests him. A violent +man, this Gardiner, and well born. As for Paget, he was nobody--a +cobbler's son. He is to be made Baron Paget of Beaudesert in +Stafford. + +GILBERT. + +How glibly he tells all these things, this Joshua. + +JOSHUA. + +My faith! It's from hearing the prisoners of State talk. + +[_Simon Renard appears at the back of stage._ + +You see, Gilbert, the man who knows most about the history of these +times is the turnkey of the Tower of London. + +Simon Renard (_who overhears these last words_). + +You are mistaken, my master; it is the executioner! + +JOSHUA (_low to Gilbert and Jane_). + +Let us move back a little! + +[_Simon Renard goes off slowly; when he has disappeared._ + +That is Master Simon Renard himself. + +GILBERT. + +I don't like to have all these men prowling about my house. + +JOSHUA. + +What the devil is he doing here? I must hurry back; I think he is +getting work ready for me. Good-by, Gilbert! Good-by, my beautiful +Jane, I knew you when you were no bigger than that, all the same! + +GILBERT. + +Good-by, Joshua! What are you hiding there under your cloak? + +JOSHUA. + +I've got my conspiracy, too! + +GILBERT. + +What conspiracy? + +JOSHUA. + +O lover who forgets everything else! I have just reminded you that +the day after to-morrow is the time for Christmas presents. The +nobles are plotting a surprise for Fabiani. Well, I am plotting a +surprise too. The Queen may give herself the present of a brand-new +favorite. I am going to give my child a doll. [_He takes a doll from +his cloak._] Brand-new, too! We will see which will be the first to +break her toy. God keep you, my friends. + +GILBERT. + +Good-by, Joshua! + +[Joshua _departs_. Gilbert _takes_ Jane's _hand and kisses it +with passion_. + +JOSHUA (_from back of stage_). + +How wise is Providence! She gives to each one his plaything. The doll +to the child, the child to the man, the man to the woman, and the +woman to the devil. [_Exits._ + + +SCENE III + +Gilbert, Jane + +GILBERT. + +I must go, too. Good-by, Jane: sleep well. + +JANE. + +You are not coming in with me to-night, Gilbert? + +GILBERT. + +I can't. You know, I told you before, Jane, I have some work to do in +my shop to-night. I must engrave the handle of a dagger for some Lord +Clanbrassil, whom I have never seen, and who wants it to-morrow +morning. + +JANE. + +Then good-night, Gilbert. Until to-morrow! + +GILBERT. + +No, Jane, wait a moment. Heaven! how it hurts me to leave you, even +for a few hours. How true it is that you are my life and my joy. Yet +I have to work--we are so poor. I won't go in, because I should stay; +and yet I can't leave you, weak man that I am. Let us sit down by the +door a few moments, on this bench. I think it will be easier to go +from here than if I went into the house, and, above all, into your +room. Give me your hand. + +[_He sits and takes her hands in his; she stands._ + +Jane, do you love me? + +JANE. + +Oh, I owe you everything, Gilbert. I know it, although you have +concealed it from me a long time! When I was little, almost in my +cradle, my parents abandoned me, and you took me. For sixteen years +your hand has worked for me as if you were a father; your eyes have +watched over me like a mother. What would I be without you, just +Heaven! All I have, you have given me; all I am, you have made me. + +GILBERT. + +Jane, do you love me? + +JANE. + +What devotion yours has been, Gilbert! You work for me, night and +day; you wear your eyes out, you kill yourself for me. You are going +to sit up all night again to-night. And never a reproach to me, never +an unkindness, never an angry word! You are very poor, yet you +remember all my small womanly vanities; you gratify them. Gilbert, +whenever I think about you, my eyes fill with tears. You have often +gone without bread; I have never gone without my ribbons. + +GILBERT. + +Jane, do you love me? + +JANE. + +Gilbert, I would like to kneel down and kiss your feet. + +GILBERT. + +Do you love me, do you love me? All that does not prove that you love +me. I want that word, Jane! Gratitude, always gratitude! Oh, I stamp +it underfoot, your gratitude. I want love or nothing! Die! Jane, you +have been my daughter for sixteen years; now you are to be my wife. I +adopted you; now I am to marry you--in one week. You know, you +promised me; you have consented; you are my betrothed. You loved me +when you promised that. Oh, Jane, there was a time--do you remember +it?--when you told me, "I love you," and you lifted your sweet eyes +to heaven. That is the way I want you to be. For some months now, you +have seemed different, especially during these last three weeks that +my work has kept me away from here nights. Jane, I must have you love +me! I am used to it. You were always so light-hearted; now you are +sad and absent-minded--not cold, my poor child (you try your best not +to be), but I feel your loving words do not come as tenderly and as +naturally as they used. What is the matter? Don't you love me any +more? I know I am an honest man, I know I am a good workman; but I +would rather be a robber and an assassin, and be loved by you. Jane, +if you knew how much I love you! + +JANE. + +I know it, Gilbert, and it makes me weep. + +GILBERT. + +For joy, isn't it? Say it is for joy! Oh, I need to believe it. There +is only that in the world--to be loved. I have only a poor +workingman's heart, but my Jane must love me. Why do you always talk +to me about what I have done for you? One single word of love from +you puts all the gratitude on my side. I will damn myself and commit +a crime, whenever you wish it. You will be my wife, won't you, and +you love me? Oh, Jane, for one look of your eyes I would give my work +and my labor; for one smile, my life; for one kiss, my soul. + +JANE. + +What a noble heart you have, Gilbert. + +GILBERT. + +Listen to me, Jane--laugh at me if you will; I am mad, I am jealous! +I will tell you why. Do not get angry! It seems to me, for some time +I have seen several young lords prowling around here. Do you know, +Jane, I am thirty-two years old. For a poor, clumsy, badly-dressed +workman like myself, who am no longer young, who am not handsome, +what a misery it is to love a charming, beautiful girl of seventeen, +who attracts all the handsome, gold-bedizened young nobles around +her, as a light attracts the butterflies. Oh, I suffer; indeed, I do! +But I never blame you, even in my thoughts! You, so honest, so pure; +you, whose brow has never been touched, except by my lips. I only +feel, sometimes, that you look on the Queen's cavalcades and retinues +with too much pleasure, that you enjoy too much the fine suits of +velvet and satin, under which there are no hearts, no souls. Forgive +me. My God! why do so many young noblemen come around here? Why am I +not handsome, young, noble, rich? Gilbert the engraver--that is all I +am! They are Lord Chandos, Lord Gerard Fitz-Gerard, Earl of Arundel, +the Duke of Norfolk! Oh, how I hate them! I spend my life engraving +the handles of their swords, which I would like to plunge into their +bowels. + +JANE. + +Gilbert! + +GILBERT. + +I beg your pardon, Jane! Love makes us very wicked, doesn't it? + +JANE. + +No, very good; for you are good, Gilbert. + +GILBERT. + +Oh, how much I love you! It increases every day. I would like to die +for you! Love me or not, you can do as you please. I am mad. Forgive +all that I have said. It is late: I must leave you! Good-by! Oh, how +I hate to leave you! Go in! Haven't you your key? + +JANE. + +No; I haven't had it for several days. + +GILBERT. + +Take mine. Until to-morrow morning! Jane, don't forget this! To-day I +am still your father: in one week I shall be your husband. + +[_He kisses her on the forehead and exits._ + +JANE (_alone_). + +My husband! Oh, no! I will never commit that crime. Poor Gilbert! he +loves me truly; and the other--ah, provided I have not preferred +vanity to love! Unhappy woman that I am, into whose power have I +fallen! Oh, I am most thankless and most guilty! I hear footsteps! +Let me get in quickly. [_Goes into house._ + + +SCENE IV + +_Gilbert, A Man enveloped in cloak and wearing a yellow cap. The +Man holds Gilbert by the hand_ + +GILBERT. + +Yes, I recognize you; you are the Jewish beggar who has been prowling +around this house for several days. What do you want with me? Why +have you taken hold of my hand, and why have you brought me back +here? + +THE MAN. + +Because what I have to say to you, I can only say here. + +GILBERT. + +Well, what is it? Speak! Hurry! + +THE MAN. + +Listen, young man. One night, sixteen years ago, Lord Talbot, Earl of +Waterford, was beheaded by torchlight, for the crimes of popery and +rebellion, while his followers were cut to pieces in the city of +London by Henry VIII.'s soldiers. They shot in the streets all night. +That night a very young workman, who was much more interested in his +labor than in the battle, was working in his stall. It was the first +stall from the entrance of London Bridge; a low door on the right, +the remains of some old red paint on the wall. It might have been two +o'clock in the morning. They were fighting all around there. The +balls hissed across the Thames. Suddenly some one knocked at the door +of the stall, through which the workman's lamp threw a glimmer. The +workman opened it. A man he did not know, entered. This man carried +in his arms a baby in long clothes, who was much frightened and was +crying. The man put the child down on the table and said, "Here is a +creature who has neither father nor mother." Then he went out slowly +and closed the door after him. Gilbert, the workman, had neither +father nor mother himself. The workman accepted the child: the orphan +adopted the orphan. He took it, watched over it, clothed it, fed it, +tended it, brought it up, loved it. He gave himself entirely to this +poor little creature whom civil war had thrown into his stall. He +forgot everything for her--his youth, his love-affairs, his +pleasures; he made this child the sole object of his work, his +affections, his life: and it has lasted sixteen years. Gilbert, the +workman was you; the child-- + +GILBERT. + +Was Jane. All that you say is true; but what are you driving at? + +THE MAN. + +I forgot to say that on the child's swaddling-clothes a paper was +pinned, on which was written: "Have pity upon Jane." + +GILBERT. + +It was written in blood. I have kept that paper. I always carry it +about me. But you torture me. What is your purpose, tell me. + +THE MAN. + +This. You see that I am acquainted with your affairs. Gilbert, watch +over your house to-night. + +GILBERT. + +What do you mean? + +THE MAN. + +Not another word. Don't go to your work; stay around the house: +watch! I am neither your friend nor your enemy; this is only a piece +of advice that I give you. Now, for your own sake, leave me! Go down +that side, and come back if you hear me call for help. + +GILBERT. + +What does this mean? [_Goes off slowly._ + + +SCENE V + +THE MAN (_alone_). + +The matter is well arranged now. I needed some one young and strong +to help me if it was necessary. This Gilbert is just the man I want. +I think I hear the sound of oars and a guitar on the water. Yes. + +[_He goes to the parapet. A guitar and distant singing are heard._ + + When you sing soft at night, love, + Clasped in my arms so fond, + Can you not hear the tender thoughts + Which to your voice respond? + Your song brings back unto my heart + The happy days of yore; + Then sing, my beauty, sing, my love, + Sing on for evermore! + +THE MAN. + +That is my man! + +[_The voice draws nearer with each verse._ + + When you laugh, on your lips, dear, + Love's sweetest shadows play; + And doubt and cruel unbelief + Are sudden chased away. + For laughter proves we're loyal + And faithful to the core; + Then laugh, my beauty, laugh, my love, + Laugh on for evermore! + + When you sleep, calm and pure, love, + In shadow, 'neath my eyes, + And your soft breathing gives my heart + Its tenderest replies, + On your sweet form my eyes can feast, + Oh, beauty's priceless store! + Then sleep, my beauty, sleep, my love, + Sleep on for evermore! + + And when you say, "I love you," + In truth it seems to be + As if God's heaven were opening + Especially for me. + I see dreams hidden in your eyes + That we've not dreamed before; + Then love me, oh, my beauty, + Love me for evermore! + + You see, the whole of life, dear, + Lies in those words, just four-- + All things that people envy, + All things that men adore, + All things that are seductive, + On which our heart sets store. + To sing, to laugh, my beauty, + To sleep, to love, no more! + +THE MAN. + +He lands! Good! He sends off the boatmen. Excellent! + +[_Comes back to the front of the stage._ + +Here he comes. + +[_Fabiano Fabiani enters, enveloped in a cloak; he goes toward the +door of the house._ + + +SCENE VI + +The Man, Fabiano Fabiani + +THE MAN (_stopping_ Fabiani). + +A word with you, if you please. + +FABIANI. + +I believe some one is speaking to me. Who is this knave? Who are you? + +THE MAN. + +Whatever you wish me to be. + +FABIANI. + +This lantern is not very bright, but you wear a yellow cap, it seems +to me--a Jew's cap. Are you a Jew? + +THE MAN. + +Yes, a Jew. I have something to tell you. + +FABIANI. + +What is your name? + +THE MAN. + +I know your name, and you don't know mine. I have the advantage. +Permit me to keep it. + +FABIANI. + +You know my name? That isn't true. + +THE MAN. + +I know your name. At Naples you were called Signor Fabiani; at +Madrid, Don Fabiano; at London you are called Lord Fabiano Fabiani, +Earl of Clanbrassil. + +FABIANI. + +The devil take you! + +THE MAN. + +God keep you! + +FABIANI. + +I will have you cudgeled. I do not wish my name to be known when I go +abroad by night. + +THE MAN. + +Especially when you go where you are going. + +FABIANI. + +What do you mean? + +THE MAN. + +If the Queen knew! + +FABIANI. + +I am going nowhere in particular. + +THE MAN. + +Oh, yes, my lord! You are going to see the fair Jane, the betrothed +of Gilbert the engraver. + +FABIANI (_aside_). + +The devil! This is a dangerous man. + +THE MAN. + +Shall I tell you more? You have seduced this girl, and during the +last month she has received you twice in her house at night. This is +the third time. The beauty is waiting for you. + +FABIANI. + +Keep still. Do you want hush-money? How much do you want? + +THE MAN. + +We will see about that by-and-by. Now, my lord, shall I tell you why +you have seduced this girl? + +FABIANI. + +By my faith! because I was in love with her. + +THE MAN. + +No. You were not in love with her. + +FABIANI. + +I wasn't in love with Jane. + +THE MAN. + +No more than with the Queen! Love, oh, no! calculation, yes. + +FABIANI. + +Why, fool, you are no man at all! You are my conscience dressed up +like a Jew. + +THE MAN. + +I will speak to you as if I were your conscience. This is your plan. +You are the Queen's favorite. The Queen has given you the garter, an +earldom, and a lordship--empty things, all of them. The garter is a +rag; the earldom is a word; the lordship is the right to have your +head cut off. You wanted something more. You wanted fine lands, fine +bailiwicks, fine castles, fine revenues in fine English pounds. Well, +King Henry VIII. confiscated the estates of Lord Talbot, who was +beheaded sixteen years ago. You got Queen Mary to give you Lord +Talbot's estates. But, to make the gift valid, it is necessary that +Lord Talbot should have died without heirs. And since Lord Talbot +died for Queen Mary and for her mother, Catherine of Aragon, since +Lord Talbot was a Papist, and since the Queen is a Papist, it is not +at all doubtful, if there existed such an heir or an heiress, that +Queen Mary would take back the estates from you, great favorite +though you are, and out of duty, gratitude and religion, return them +to the heir or heiress. You were quite easy on that score, for Lord +Talbot had never had but one little daughter; she disappeared from +her cradle at the time of her father's execution, and all England +believed her to be dead. But your spies have lately discovered that +during the night in which Lord Talbot and his partisans were +exterminated by Henry VIII., a child was mysteriously brought to an +engraver on London Bridge, and that it was probable that this child, +reared under the name of Jane, was Jane Talbot, the little girl who +had disappeared. It is true that the written proofs of her birth were +lacking, but they might be found any day. The discovery was +unpleasant. It would be hard to see one's self forced some day to +give back Shrewsbury, Wexford, which is a fine city, and the +magnificent earldom of Waterford, to a little girl! What was to be +done? You searched for a way to set aside this young girl, and to +destroy her. An honest man would have had her killed or poisoned. +You, my lord, have done better--you have dishonored her. + +FABIANI. + +Insolent fool! + +THE MAN. + +It is your conscience which is speaking, my lord. Another man would +have taken this young girl's life; you have taken her honor, and, +consequently, her future. Queen Mary is a prude, although she has +lovers herself. + +FABIANI. + +This man goes to the bottom of everything. + +THE MAN. + +The Queen's health is bad; the Queen may die, and then you, the +favorite, will fall shattered on her tomb. The actual proofs of this +young girl's rank may be found; and then, if the Queen is dead, Jane +Talbot, dishonored though she be, will be recognized as Lord Talbot's +heiress. You have foreseen that too. You are a handsome young +cavalier; you have won her love; she has given herself to you; at the +worst, you can marry her. Don't deprecate your scheme, my lord; I +consider it sublime. If I were not myself, I would like to be you. + +FABIANI. + +Thank you. + +THE MAN. + +You have managed the matter very skillfully. You have concealed your +name. You are safe as far as the Queen is concerned. The poor girl +thinks she has been seduced by a nobleman from Somerset county, named +Amyas Pawlet. + +FABIANI. + +All--he knows it all! Well, come to the point. What do you want of +me? + +THE MAN. + +My lord, suppose some one had in his possession the papers which +prove the birth, existence, and rights of Talbot's heiress! It would +make you as poor as my ancestor Job, Don Fabiano, and would leave you +no better castles than your castles in Spain, which would be very +hard for you. + +FABIANI. + +Yes! But no one has those papers. + +THE MAN. + +Yes. Some one has them. + +FABIANI. + +Who? + +THE MAN. + +I. + +FABIANI. + +You, miserable wretch! It isn't true! Jew speaks, Jew lies. + +THE MAN. + +I have got the papers. + +FABIANI. + +You lie! Where have you got them? + +THE MAN. + +In my pocket. + +FABIANI. + +I don't believe you. Are they all in order? Nothing lacking? + +THE MAN. + +Nothing is lacking. + +FABIANI. + +Then I must have them. + +THE MAN. + +Gently. + +FABIANI. + +Jew, give me those papers! + +THE MAN. + +Excellent! Jew, miserable beggar who crawls through the streets, give +me the city of Shrewsbury, give me the city of Wexford, give me the +earldom of Waterford! Charity, if you please! + +FABIANI. + +Those papers are everything to me and nothing to you. + +THE MAN. + +Simon Renard and Lord Chandos would pay me pretty high for them. + +FABIANI. + +Simon Renard and Lord Chandos are two dogs between whom I will have +you hanged. + +THE MAN. + +You have nothing else to say to me? Then farewell. + +FABIANI. + +Come back! What do you want me to give you for those papers? + +THE MAN. + +Something which you have with you. + +FABIANI. + +My purse? + +THE MAN. + +Out upon you! Do you want mine? + +FABIANI. + +What then? + +THE MAN. + +There is a parchment which never leaves you. It is a signature in +blank which the Queen gave you, and in which she swears, upon her +Catholic crown, to grant any favor he may ask, to the one who +presents it. Give me that signature in blank, and you shall have Jane +Talbot's titles. Paper for paper. + +FABIANI. + +What do you want to do with this signature in blank? + +THE MAN. + +I will explain. Cards on the table, my lord. I have told you your +affairs; now I will tell you mine. I am one of the principal +money-dealers in Kantersten Street, Brussels. I lend money; it is my +business. I lend ten and get back fifteen. I lend to every one: I +would lend to the devil; I would lend to the Pope. Two months ago one +of my creditors died, without paying me. It was an old exiled servant +of the Talbot family. The poor man left nothing but a few rags: I +seized them. Among these rags I found a box, and in the box some +papers--Jane Talbot's papers, my lord, giving her entire history in +detail and furnishing proofs for better times. The Queen of England +had just given you Jane Talbot's estates. I was in great need of the +Queen of England at that time, for I wanted to make a loan of ten +thousand gold marks. I realized that I might do business with you. I +came to England in this disguise; I made myself a spy upon you, upon +Jane Talbot. I did it all myself. In this way I learned everything, +and here I am. You shall have Jane Talbot's papers if you give me the +Queen's signature in blank. I will write upon it that the Queen shall +give me ten thousand gold marks. They owe me something at the +excise-office, but I won't haggle. Ten thousand gold marks--nothing +more. I don't ask you for the sum, because only a crowned head could +pay it. I am speaking frankly, you see. Two men as clever as we are, +my lord, have nothing to gain by deceiving each other. If frankness +were banished from the earth, it would be re-discovered in a +_tete-a-tete_ between two rogues. + +FABIANI. + +Impossible! I can't give you this signature in blank. Ten thousand +gold marks! What would the Queen say? And then, to-morrow I may be +disgraced: this signature in blank is my safeguard. This signature in +blank is my head. + +THE MAN. + +What does that matter to me? + +FABIANI. + +Ask me for something else. + +THE MAN. + +I want that. + +FABIANI. + +Jew, give me Jane Talbot's papers. + +THE MAN. + +My lord, give me the Queen's signature in blank. + +FABIANI. + +Accursed Jew, I will have to yield. [_Draws a paper from his pocket._ + +THE MAN. + +Show me the Queen's signature in blank. + +FABIANI. + +Show me Talbot's papers. + +THE MAN. + +Afterward. + +[_They go close to the lantern. Fabiani stands behind the Jew, and +with his left hand holds the paper under the Jew's eyes; he examines +it. The Man reads._ + +"We, Mary, Queen--" It is well. You see, my lord, I am like you. I +have calculated upon everything. I have foreseen everything. + +FABIANI (_draws a dagger with his right hand and plunges it into the +Jew's throat_). + +Except this! + +THE MAN. + +Oh, traitor! Help! + +[_He falls. In falling he throws a sealed packet into the darkness +behind him; Fabiani does not perceive it._ + +FABIANI (_leaning over the body_). + +Faith! I believe he is dead. Quick, the papers. [_He searches the +Jew._] What! he hasn't got them. He has nothing--nothing at all about +him! Not a paper! He was lying, the old wretch! He deceived me: he +wanted to rob me. Is it possible, you accursed Jew! No, he has +nothing. That is clear. I have killed him for nothing. They are all +alike, these Jews. To lie and steal, that is all they can do. Come, +let us get rid of this corpse; I can't leave it here at the door. +[_Goes up stage._] I will see if the boatman is still there; he can +help me throw it into the Thames. + +[_He descends, and disappears behind the parapet._ + +GILBERT (_enters from the opposite side_). + +I thought I heard a cry! + +[_He perceives the body stretched upon the ground under the lantern._ + +Some one has been assassinated! The beggar! + +THE MAN (_lifting himself half-way up_). + +Ah, you come too late, Gilbert. + +[_He points to the place where he threw the packet._ + +Take them. They are the papers which prove that Jane, your betrothed, +is daughter and heiress of the last Lord Talbot. My assassin is Lord +Clanbrassil, the Queen's favorite. Oh, I suffocate! Gilbert, avenge +me! Avenge yourself! [_He dies._ + +GILBERT. + +Dead! Avenge myself? What does he mean? Jane, daughter to Lord +Talbot? Lord Clanbrassil! The Queen's favorite? Oh, I am lost in +wonder! [_Shaking the body._] Speak! One word more! He is indeed +dead! + + +SCENE VII + +Gilbert, Fabiani + +FABIANI (_returning_). + +Who goes there? + +GILBERT. + +A man has been assassinated. + +FABIANI. + +No, a Jew. + +GILBERT. + +Who killed him? + +FABIANI. + +Faith! You or I. + +GILBERT. + +Sir? + +FABIANI. + +No witnesses. A corpse on the ground. Two men beside it. Which is the +assassin? There is nothing to prove it is one rather than the +other--I rather than you. + +GILBERT. + +Miserable man! You are the assassin! + +FABIANI. + +Well, yes! To be frank, I am. What of it? + +GILBERT. + +I am going to call the constables. + +FABIANI. + +You are going to help me throw the body into the water. + +GILBERT. + +I will have you seized and punished. + +FABIANI. + +You will help me throw the body into the water. + +GILBERT. + +You are insolent. + +FABIANI. + +Do as I say! Let us destroy all traces of this. Believe me, you are +more interested in the matter than I am. + +GILBERT. + +Upon my soul! + +FABIANI. + +One of us two did the deed. I am a great lord, a nobleman. You are a +passer-by, a peasant, a man of the people. A noble who kills a Jew +pays a fine of four sous; a man of the people who kills one of his +fellow-creatures is hanged. + +GILBERT. + +You would dare-- + +FABIANI. + +If you denounce me, I will denounce you. I will be believed sooner +than you. At any rate, the chances are unequal. Four sous fine for +me, and the gallows for you. + +GILBERT. + +No witnesses! No proofs! Oh, my brain is bewildered! This miserable +man is right, he has me in his power. + +FABIANI. + +Shall I help you throw the corpse into the river? + +GILBERT. + +You are a demon! + +[_Gilbert takes the body up by the head, Fabiani by the feet; +they carry it to the parapet._ + +FABIANI. + +Yes. Faith, my friend, I can no longer exactly tell which of us +killed this man! + +[_They go down behind the parapet. Fabiani re-appears._ + +It is done. Good-night, comrade! Go your way! + +[_He starts toward the house, but turns back, seeing that Gilbert +follows him._ + +Well, what do you want? Money for your trouble? In truth, I don't owe +you anything, but here, take this. + +[_He gives his purse to Gilbert, whose first impulse is to refuse +it, but who accepts it afterward with the air of a man who has +reflected._ + +Well, go! What more are you waiting for? + +GILBERT. + +Nothing. + +FABIANI. + +Then stay, if it pleases you. You can have the fine starlight while I +have the pretty girl. God be with you! + +[_He starts toward the door of the house and is about to open it._ + +GILBERT. + +Where are you going? + +FABIANI. + +Faith, into my house! + +GILBERT. + +How? Into your house! + +FABIANI. + +That is what I said. + +GILBERT. + +Which of us two is dreaming? A short time ago you told me that I was +the Jew's assassin! Now you tell me that that house is yours. + +FABIANI. + +Or that of my mistress, which amounts to the same thing. + +GILBERT. + +Repeat what you have just said. + +FABIANI. + +My friend, I say, since you wish to know, that this house belongs to +a beautiful girl named Jane, who is my mistress. + +GILBERT. + +And I tell you, my lord, that you lie! I tell you that you are a liar +and an assassin! I tell you that you are an insolent knave! I tell +you, you have pronounced some fatal words which will kill us +both--you, for having said them: me, for having heard them. + +FABIANI. + +Dear me! Who the devil is this man? + +GILBERT. + +I am Gilbert the engraver. Jane is my betrothed. + +FABIANI. + +And I am the Chevalier Amyas Pawlet. Jane is my mistress. + +GILBERT. + +You lie, I tell you! You are Lord Clanbrassil, the Queen's favorite. +Don't you think I know that, fool! + +FABIANI (_aside_). + +Everybody seems to know me to-night. Another dangerous man, whom we +must get rid of. + +GILBERT. + +Tell me instantly that you have lied like a coward, and that Jane is +not your mistress! + +FABIANI. + +Do you know her writing? + +[_He takes a note from his pocket._ + +Read this! + +[_Aside, while Gilbert tremblingly unfolds the paper._ + +If he would go in and quarrel with Jane, it would give my people time +to get here. + +GILBERT (_reading_). + +"I will be alone to-night. You can come." Malediction! My lord, you +have dishonored my betrothed, you are an infamous wretch! I demand my +revenge. + +FABIANI (_putting his hand to his sword_). + +Willingly! Where is your sword? + +GILBERT. + +Oh, fury! To be one of the people! To have nothing--neither sword nor +dagger. Well, you can go; but I will wait for you at night, in a +corner of the street, and I will stick my nails into your throat, and +I will assassinate you, you villain! + +FABIANI. + +Dear me! How violent you are, my friend. + +GILBERT. + +I will be revenged upon you, my lord! + +FABIANI. + +You! Revenged upon me? You so low, upon me so high! You are crazy! +I defy you. + +GILBERT. + +You defy me? + +FABIANI. + +Yes. + +GILBERT. + +You shall see. + +FABIANI (_aside_). + +To-morrow's sun must not rise for this man. [_Aloud._] Friend, listen +to me. Go into your house. I am sorry you found it out, but I leave +the beauty to you. Go in. + +[_He throws a key down at Gilbert's feet._ + +There is a key, if you haven't got one. Or, if you like it better, +you can knock against the shutter three times and Jane will think it +is I, and let you in. Good-night. [_He goes off._ + + +SCENE VIII + +GILBERT (_alone_). + +He is gone. He is no longer here. I did not grind and crush him +beneath my feet. I had to let him go. Not a weapon about me. + +[_He sees on the ground the dagger with which Lord Clanbrassil +killed the Jew; he picks it up with fearful haste._ + +Ah, you come too late; you can probably kill no one but myself. All +the same, whether you fall from heaven or are vomited up from hell, I +bless you. My Jane has betrayed me! Jane has given herself to this +infamous man. Jane is the heiress of Lord Talbot. Jane is lost to me! +O God! more terrible things have come to me in this hour than my +brain can stand. + +[_Simon Renard appears in the darkness at the back._ + +Oh, to be revenged on that man! To be revenged on this Lord +Clanbrassil! If I go to the Queen's palace, the lackeys will kick me +out as if I were a dog. I am mad! My head will burst! I am willing to +die, but I want to be revenged. I would give my blood for revenge! +Will nobody in the world make this bargain with me? Who will give me +vengeance on Lord Clanbrassil and take my life in payment? + + +SCENE IX + +Gilbert, Simon Renard + +SIMON RENARD (_taking a step forward_). + +I will. + +GILBERT. + +You? Who are you? + +SIMON RENARD. + +The man you want. + +GILBERT. + +Do you know who I am? + +SIMON RENARD. + +You are the man I need. + +GILBERT. + +There is no longer but one thought in my mind, do you know that? To +be revenged on Lord Clanbrassil and to die! + +SIMON RENARD. + +You shall be revenged on Lord Clanbrassil and you shall die. + +GILBERT. + +Who ever you may be, I thank you. + +SIMON RENARD. + +Yes, you shall have the vengeance you desire. But do not forget upon +what condition. I must have your life. + +GILBERT. + +Take it. + +SIMON RENARD. + +It is agreed? + +GILBERT. + +Yes. + +SIMON RENARD. + +Follow me! + +GILBERT. + +Where? + +SIMON RENARD. + +You shall know. + +GILBERT. + +Remember that you have promised to avenge me! + +SIMON RENARD. + +Remember that you have promised to die. + + + + +SECOND DAY + +THE QUEEN + +Scene.--_A room in the royal apartment. The gospel open on a +prie-Dieu. The royal crown upon a stool. Side doors. A large door in +the center. A portion of the background concealed by a large +tapestry, representing a grand tournament_ + + +SCENE I + +_The Queen, splendidly dressed, reclining upon a couch; Fabiano +Fabiani seated on a folding-chair. Magnificent costume. The garter_ + +FABIANI (_a guitar in his hands, singing_). + + When you sleep, calm and pure, love, + In shadow, 'neath my eyes, + And your soft breathing gives my heart + Its tenderest replies; + On your sweet form my eyes can feast, + Oh, beauty's priceless store! + Then sleep, my beauty, sleep, my love, + Sleep on, for evermore! + + And when you say, "I love you," + In truth, it seems to be + As if God's heaven were opening + Especially for me. + I see dreams hidden in your eyes + That we've not dreamed before; + Then love me, oh, my beauty, + Love me for evermore! + + You see, the whole of life, dear, + Lies in those words, just four-- + All things that people envy, + All things that men adore, + All things that are seductive + On which our hearts set store, + To sing, to laugh, my beauty, + To sleep, to love, no more! + +[_He puts down his guitar._ + +Oh, I love you more than I can tell, madame! But this Simon +Renard--this Simon Renard, who is more powerful here than you +yourself--I hate him! + +THE QUEEN. + +I can't help it, my lord; you know that. He is here as the ambassador +of the Prince of Spain, my future husband. + +FABIANI. + +Your future husband! + +THE QUEEN. + +Come, my lord, let us not speak of that. I love you! What more do you +wish? Moreover, it is time for you to go, now. + +FABIANI. + +One moment more, Mary! + +THE QUEEN. + +It is time for the secret council to meet. Until now, there has been +only a woman here. We must let the Queen enter. + +FABIANI. + +I wish the woman would keep the Queen waiting at the door. + +THE QUEEN. + +You wish, do you? You wish, do you? Look at me, my lord! Fabiani, you +have a young and beautiful head! + +FABIANI. + +It is you who are beautiful, madame. You need only your beauty to be +all-powerful. There is something on your head which tells me you are +the Queen; but it is written plainer on your brow than on your crown! + +THE QUEEN. + +Flatterer! + +FABIANI. + +I love you! + +THE QUEEN. + +You love me, do you not? You love only me? Say it to me again, just +like that, with the same eyes! Alas! we poor women, we never know +just what is passing in a man's heart. We have to trust your eyes; +and the handsomest eyes, Fabiani, are often the most false. But +yours, my lord, are so full of loyalty, so full of candor, so full of +good faith, they could not deceive, those eyes--could they? Yes, my +beautiful page, your glances are artless and sincere. Oh, it would be +shameful to take such heavenly eyes to betray with! Your eyes are the +eyes either of a devil or an angel! + +FABIANI. + +Neither angel nor devil. A man who loves you! + +THE QUEEN. + +Who loves the Queen? + +FABIANI. + +Who loves Mary. + +THE QUEEN. + +Listen to me, Fabiani. I love you, too. You are young; there are many +beautiful women who smile tenderly on you--I know it. People get +tired of queens as well as of other women.--Don't interrupt me!--If +you ever fall in love with another woman, I want you to tell me about +it.--Don't interrupt me, dear!--I may forgive you, if you tell me +about it. You don't know how much I love you. I don't know myself. It +is true, there are moments when I would rather see you dead than +happy with another; but there are also moments when I would rather +have you happy. Indeed, I don't know why they try to make me out such +a wicked woman! + +FABIANI. + +I can only be happy with you, Mary! I love no one but you! + +THE QUEEN. + +Are you sure? Look at me! Are you sure? Oh, I am jealous sometimes! I +imagine--where is the woman who does not think of these +things?--sometimes I imagine that you are false to me. I would like +to be invisible, so that I might follow you, and always know what you +are doing, what you are saying, where you are! In fairy stories they +tell about a ring which makes one invisible; I would give my crown to +have such a ring as that. I keep thinking that you go to see the +beautiful women in the city. Oh, you must not deceive me--indeed, you +must not! + +FABIANI. + +Banish such thoughts from your mind, madame. I false to you, my love, +my queen, my kind mistress! To do that, I would have to be the most +thankless, the most miserable of men. And I have given you no reason +to think me the most thankless, the most miserable of men. I love +you, Mary; I adore you! I could not even look at another woman! I +love you, I say; but don't you see it in my eyes? There must be some +way to persuade you! Look at me well! Do I look like a man who is +false? When a man deceives a woman, you can see it at once. Women are +seldom mistaken about that. And what a time you choose to tell me +these things--the one moment in my life when I love you the most! It +is true, I am sure I never loved you so much as I do to-day. I am not +speaking to the Queen. What do I care about the Queen? What can she +do to me? She can have my head cut off; what does that amount to? +You, Mary, can break my heart. It isn't your sovereignty that I love, +it is yourself. It is your beautiful white and soft hand that I love +to kiss; it isn't your scepter, madame. + +THE QUEEN. + +Thank you, my Fabiano. Good-by! Ah, my lord, how young you are! What +beautiful black hair, what a graceful head you have! Come back to me +in an hour. + +FABIANI. + +What you call an hour, I call a century! + +[_He goes out. As soon as he is gone, The Queen rises hastily, goes +to a concealed door, opens it, and ushers in Simon Renard._ + + +SCENE II + +The Queen, Simon Renard + +THE QUEEN. + +Come in, Sir Bailiff! Well, did you stay there? Did you hear him? + +SIMON RENARD. + +Yes, madame. + +THE QUEEN. + +What do you say to it? Oh, of all men on earth he is the most false, +the most deceitful! What do you say to it? + +SIMON RENARD. + +I say, madame, that it is plain to be seen his name ends in _i_. + +THE QUEEN. + +Are you sure that he goes to this woman at night? Did you see him? + +SIMON RENARD. + +I myself, Chandos, Clinton, Montague. Ten witnesses! + +THE QUEEN. + +Oh, it is indeed infamous! + +SIMON RENARD. + +The whole affair will be still better proved to the Queen in a short +time. The young woman is here, as I told your Majesty. I had her +brought from her house last night. + +THE QUEEN. + +Isn't this a sufficient crime for his execution, sir? + +SIMON RENARD. + +What! To go to see a pretty girl by night! Oh, no, madame! Your +Majesty had Frogmorton tried for a similar crime. Frogmorton was +acquitted. + +THE QUEEN. + +I punished Frogmorton's judges. + +SIMON RENARD. + +Try not to have to punish Fabiani's judges. + +THE QUEEN. + +How shall I revenge myself on this traitor? + +SIMON RENARD. + +Your Majesty wants only a certain kind of revenge? + +THE QUEEN. + +The only kind worthy of me! + +SIMON RENARD. + +Frogmorton was acquitted, madame. There is only one way. I have +explained it to your Majesty. The man who is there! + +THE QUEEN. + +Will he do whatever I wish? + +SIMON RENARD. + +If you do all that he wishes. + +THE QUEEN. + +Will he give his life? + +SIMON RENARD. + +He will make his own conditions, but he will give his life. + +THE QUEEN. + +What does he want? Do you know? + +SIMON RENARD. + +What you yourself want--revenge! + +THE QUEEN. + +Bid him come in, but stay you out there, within call, Sir Bailiff. + +SIMON RENARD (_coming back_). + +Madame! + +THE QUEEN. + +Tell my Lord Chandos to hold himself in the next room, with six men +of my ordinance, in readiness to appear. And the woman also, let her +be ready to appear. Go. + +[_Simon Renard goes out._ + +Oh! it would be frightful! + +[_The Queen alone. A side door opens; Simon Renard and Gilbert +enter._ + + +SCENE III + +The Queen, Gilbert, Simon Renard + +GILBERT. + +Before whom do I stand? + +SIMON RENARD. + +Before the Queen. + +GILBERT. + +The Queen! + +THE QUEEN. + +Yes, the Queen. I am the Queen. There is no time for astonishment. +You, sir, are Gilbert, a workman, an engraver. You live somewhere +beyond the borders of the river, with a woman named Jane, who is your +betrothed, and who deceives you, whose lover is a man named Fabiano, +who deceives me. You want revenge, so do I. In order to get it, I +must be able to make any disposition I please of your life. It is +necessary that you should say what I command you to say, no matter +what it is. For you, there must be no longer either false or true, +good or bad, justice or injustice--nothing but my vengeance and my +will. I shall require you to let me act, and to let yourself be acted +upon. Do you consent? + +GILBERT. + +Madame-- + +THE QUEEN. + +You shall have your revenge; but I warn you, it will cost you your +life--that is all. Make your conditions. If you have an old mother +and you want her tablecloth covered with ingots of gold, speak, I +will do it. Sell me your life as dear as you please. + +GILBERT. + +I am no longer willing to die, madame. + +THE QUEEN. + +What! + +GILBERT. + +I have been thinking about it all night. Nothing is proved yet. I saw +a man who boasted that he was Jane's lover. How do I know that he did +not lie? I saw a key! How do I know that he did not steal it? I saw a +letter! How do I know that she was not forced to write it? I don't +even know whether it was her writing; it was dark, I was excited, I +could not see. I can't give up my life, which is her life, like that. +I don't believe any of it, I am not sure of any of it, I have not +seen Jane! + +THE QUEEN. + +It is easy to see that you love. You are like me, you refuse all the +proofs. But if you see her, your Jane, if you hear her confess the +crime, will you do what I wish? + +GILBERT. + +Yes, upon one condition. + +THE QUEEN. + +Tell it to me afterward. [_To Simon Renard._] Bring this woman here +at once. + +[_Simon Renard goes out. The Queen places Gilbert behind a +curtain which covers part of the background of the apartment._ + +Stand there! + +[_Jane enters, pale and trembling._ + + +SCENE IV + +_The Queen; Jane; Gilbert behind the curtain_ + +THE QUEEN. + +Approach, young woman. You know who we are? + +JANE. + +Yes, madame. + +THE QUEEN. + +You know who is the man who seduced you? + +JANE. + +Yes, madame. + +THE QUEEN. + +He deceived you. He passed himself off for a nobleman called Amyas +Pawlet? + +JANE. + +Yes, madame. + +THE QUEEN. + +You know now that it is Fabiano Fabiani, Earl of Clanbrassil? + +JANE. + +Yes, madame. + +THE QUEEN. + +Last night, when they seized you in your house, you had given him a +rendezvous, you were waiting for him? + +JANE (_wringing her hands_). + +Heavens, madame! + +THE QUEEN. + +Answer! + +JANE (_with feeble voice_). + +Yes. + +THE QUEEN. + +You understand that there is no more hope, neither for him nor for +you? + +JANE. + +Nothing but death! That is a hope! + +THE QUEEN. + +Tell me all about it. Where did you meet this man first? + +JANE. + +The first time I saw him was-- But what is the use? A poor wretched +girl of the people, frivolous and vain, in love with jewels and fine +clothes, a girl dazzled with the handsome looks of a great lord--that +is all. I am seduced, I am dishonored, I am lost. There is nothing to +add to that. My God, madame, don't you see that each word I speak is +killing me? + +THE QUEEN. + +Enough. + +JANE. + +Your anger is terrible, I know it, madame. My head bends now beneath +the punishment you have prepared for me. + +THE QUEEN. + +Punishment for you? Do you think I concern myself about you, +simpleton? Who are you, wretched creature, that the Queen should +concern herself about you? Oh, no! Fabiano is my affair. As for you, +madame, some one else will look out for your punishment. + +JANE. + +Well, madame, whoever that one may be, whatever the punishment, I +will endure all without a murmur. I will even thank you if you will +listen to one prayer I am about to make. There is a man who took me +in, an orphan from my birth, who adopted me, brought me up, nourished +me, loved me, and who loves me still; a man of whom I am most +unworthy, toward whom I have been most guilty, and yet whose image +lies at the bottom of my heart, beloved, revered, sacred as is that +of God; a man who now, while I am speaking to you, finds his home +empty, deserted, robbed, who can't understand it, and who rends his +garments in anguish. Well, madame, what I ask of your Majesty is that +he may never understand, that I may disappear without his knowing +what has become of me, what I have done, or what you have done with +me. Alas, kind Heaven, I do not know how to make you understand, but +you ought to feel that I have a friend in him--a noble, generous +friend. Poor Gilbert! yes, it is true, he respects me and believes me +pure, and I do not want him to hate me and despise me! Oh, you +understand me, don't you, madame? That man's respect is a great deal +more to me than my life. And then it will make him suffer so +much--such a surprise! He won't believe it at first. No, he will not +believe it. My God! Poor Gilbert. Oh, madame, have pity on him and on +me! He has done you no harm! In the name of Heaven, keep him from +knowing the awful truth! In the name of Heaven, don't let him know +that I am guilty. He will kill himself. Don't let him know that I am +dead. He will die too. + +THE QUEEN. + +The man you are speaking of is here; he is listening to you; he will +judge you, he will punish you! [_Gilbert appears._ + +JANE. + +Heavens! Gilbert! + +GILBERT (_to the Queen_). + +My life belongs to you, madame. + +THE QUEEN. + +Good. Have you any conditions to make? + +GILBERT. + +Yes, madame! + +THE QUEEN. + +What are they? We give you our royal word that we will grant them. + +GILBERT. + +This, madame. It is very simple. It is a debt of gratitude I pay to +one of your noble lords, who employed me a great deal in my capacity +as engraver. + +THE QUEEN. + +Speak! + +GILBERT. + +This lord has a secret liaison with a woman whom he cannot marry +because she belongs to a proscribed family. This woman, who up to the +present time has lived in concealment, is the only daughter and +heiress of the last Lord Talbot, beheaded under King Henry VIII. + +THE QUEEN. + +What? Are you sure of what you are saying? You say, John Talbot, the +good Catholic lord, the loyal defender of my mother of Aragon, has +left a daughter? Upon my crown, if that is true, this child is my +daughter. And what John Talbot did for the mother of Mary of England, +Mary of England will do for the daughter of John Talbot. + +GILBERT. + +Then, of course, it will be a pleasure to your Majesty to give back +Lord Talbot's estates to his daughter? + +THE QUEEN. + +Yes, truly, and to take them away from Fabiano. But are there proofs +that this heiress exists? + +GILBERT. + +There are! + +THE QUEEN. + +And if there are not, we will make them! We are not a queen for +nothing! + +GILBERT. + +Your Majesty will give back to Lord Talbot's daughter the estates, +lands, rank, coat-of-arms, and device of her father. Your Majesty +will remove her from all proscription, and will guarantee that her +life shall be safe. Your Majesty will marry her to this lord, who is +the only man she can marry. Upon these conditions, madame, you can +dispose of me, of my liberty, of my life, and of my will as you see +fit. + +THE QUEEN. + +Good! I will do what you have asked. + +GILBERT. + +Your Majesty will do what I have asked? The Queen of England swears +it to me, Gilbert the engraver, upon her crown which is here, and +upon the open gospel which is there? + +THE QUEEN. + +Upon the royal crown which is here, and the divine gospel which is +there, I swear it. + +GILBERT. + +The compact is concluded, madame. Have a tomb prepared for me and a +nuptial bed prepared for the lovers. The lord I speak of is Fabiani, +Earl of Clanbrassil. Talbot's heiress, behold her! + +JANE. + +What does he say? + +THE QUEEN. + +Am I dealing with a fool? What do you mean? Have a care, sir! You are +bold to mock the Queen of England! In the royal chambers people +should look to their words; there are times when the lips bring the +head to the block! + +GILBERT. + +You have my head, madame; I have your oath. + +THE QUEEN. + +You do not mean to say you are speaking seriously? This Fabiano--this +Jane! Come, come! + +GILBERT. + +This Jane is the daughter and the heiress of Lord Talbot. + +THE QUEEN. + +Bah! Nonsense! Delusion! Fancy! Have you got the proofs? + +GILBERT. + +Complete! + +[_He takes a packet from his breast._ + +Read these papers. + +THE QUEEN. + +Have I time to read your papers? Did I ask for your papers? What do +your papers matter to me? If they prove anything, upon my soul, I +will throw them into the fire and nothing will be left of them. + +GILBERT. + +Nothing but your oath, madame! + +THE QUEEN. + +My oath, my oath! + +GILBERT. + +Upon the crown and upon the gospel, madame; that is to say, on your +head and your soul--on your life in this world, and on your life in +the next. + +THE QUEEN. + +But what do you want? Oh, I swear you are mad! + +GILBERT. + +What do I want? Jane has lost her rank, give it back to her! Jane has +lost her honor, give it back to her! Proclaim her the daughter of +Lord Talbot and the wife of Lord Clanbrassil, and then take my life. + +THE QUEEN. + +Your life! What do you want me to do with your life then? I didn't +want it except to use for vengeance on this man--this Fabiano. You +can't understand anything at all, can you? Well! I can't understand +you, either. You talked about vengeance! That is the way you avenge +yourself, is it? These men of the people are stupid! And after all, +do you suppose I believe your ridiculous story about an heiress of +Talbot? The papers! You show me papers! I won't look at them. Oh, a +woman wrongs you, and you play the magnanimous. Well, do it if it +suits you! I am not magnanimous! No! My heart is full of rage and +hate. I will avenge myself and you shall help me! Oh, but this man is +mad, mad, mad! My God! why do I need him? It is exasperating to have +to deal with people like this, at such a serious time. + +GILBERT. + +I have your word, as Catholic Queen. Lord Clanbrassil has seduced +Jane; he shall marry her! + +THE QUEEN. + +And if he refuses to marry her? + +GILBERT. + +You will force him to do it. + +JANE. + +Oh, no! Have pity upon me, Gilbert! + +GILBERT. + +Well, then, if this infamous wretch refuses, your Majesty can do what +she pleases with him and with me! + +THE QUEEN (_with joy_). + +Ah, that is all I ask! + +GILBERT. + +In that case, I will do everything the Queen commands, provided the +crown of the Countess of Waterford is solemnly replaced by the Queen +on the sacred and inviolable head of Jane, who stands here! + +THE QUEEN. + +Everything? + +GILBERT. + +Everything! Even a crime, if it is a crime you want. I will not stop +at treachery, which is more than a crime; nor at infamy, which is +more than treachery. + +THE QUEEN. + +You will say what I want you to say? You will die the death that I +want you to die? + +GILBERT. + +The death that you want me to die! + +JANE. + +Oh, my God! + +THE QUEEN. + +You swear it? + +GILBERT. + +I swear it! + +THE QUEEN. + +Then it is settled. It is enough! I have your word, you have mine! It +is agreed. + +[_She seems to reflect a moment._ + +[_To Jane._] You are not needed here: go out. I will send for you. + +JANE. + +Oh, Gilbert, what is this you have done? Oh, Gilbert, I am a wretched +creature, and I don't dare to raise my eyes to you. Oh, Gilbert, you +are more than an angel, for you have the virtues of an angel and a +man's passions at the same time. [_She goes out._ + + +SCENE V + +_The Queen, Gilbert, afterward Simon Renard, Lord Chandos, and +the Guards_ + +THE QUEEN (_to Gilbert_). + +Have you a weapon about you? A knife, a dagger, anything! + +GILBERT (_drawing from his breast Lord Clanbrassil's dagger_). + +A dagger? Yes, madame. + +THE QUEEN. + +Good! Hold it in your hand! + +[_She seizes his arm quickly._ + +Sir bailiff D'Amont! Lord Chandos! + +[_Enter Simon Renard, Lord Chandos, and Guards._ + +Seize this man! He has threatened my life, with his dagger! I seized +his arm as he was about to strike me. He is an assassin! + +GILBERT. + +Madame! + +THE QUEEN (_low to Gilbert_). + +Have you forgotten your agreement so soon? Is this the way you let me +use you? [_Aloud._] You are all witnesses that he had a dagger in his +hand. Sir Bailiff, what is the name of the executioner of the Tower +of London? + +SIMON RENARD. + +He is an Irishman called Mac Dermot. + +THE QUEEN. + +Send for him. I want to speak to him. + +SIMON RENARD. + +Yourself? + +THE QUEEN. + +Myself. + +SIMON RENARD. + +The Queen will speak to the executioner! + +THE QUEEN. + +Yes, the Queen will speak to the executioner. The head will speak to +the hand! Send for him. + +[_A Guard goes out._ + +My Lord Chandos, and you, gentlemen, will answer to me for this man. +Keep him there among you, back of you. Certain things are about to +happen here which he must witness. Sir Lieutenant d'Amont, is Lord +Clanbrassil in the palace? + +SIMON RENARD. + +He is there, in the painted chamber, awaiting the Queen's good +pleasure to see him. + +THE QUEEN. + +Does he suspect anything? + +SIMON RENARD. + +Nothing. + +THE QUEEN (_to Lord Chandos_). + +Let him come in! + +SIMON RENARD. + +The entire Court is also waiting there. Will nobody be admitted +before Lord Clanbrassil? + +THE QUEEN. + +Who are those among our nobles who hate Fabiani? + +SIMON RENARD. + +All! + +THE QUEEN. + +Which hate him the most? + +SIMON RENARD. + +Clinton, Montague, Somerset, Earl of Derby, Gerard Fitz-Gerard, Lord +Paget, and the Lord Chancellor. + +THE QUEEN (_to Lord Chandos_). + +Admit them all--except the Lord Chancellor. Go! [_Chandos goes +out._ + +[_To Simon Renard._] The worthy Bishop Chancellor is not any fonder +of Fabiani than the rest, but he is a more scrupulous man. + +[_Noticing the papers which Gilbert left upon the table._ + +Ah, I must look over these papers! + +[_While she is examining them, the door in the background opens. +Those lords designated by The Queen enter, making profound +salutations._ + + +SCENE VI + +_The same. Lord Clinton and the other lords._ + +THE QUEEN. + +Good-day, gentlemen! God be with you, my lords! [_To Lord +Montague._] Anthony Brown, I do not forget that you held your own +most worthily against John of Montmorency and the Count of Toulouse +during my negotiations with my uncle, the Emperor! Lord Paget, to-day +you will receive your letters patent of Baron Paget de Beaudesert in +Stafford. And this is our old friend, Lord Clinton. We are always +your good friend, my lord. It was you who exterminated Thomas Wyatt +in St. James's Field. Let us all remember it, my lords. The crown of +England was saved that day by a bridge which enabled my troops to +reach the rebels, and by a wall which prevented the rebels from +reaching me! The bridge was London Bridge. The wall was my Lord +Clinton! + +LORD CLINTON (_low to Simon Renard_). + +The Queen has not spoken to me for six months. How kind she is +to-day! + +SIMON RENARD (_low to Lord Clinton_). + +Patience, my lord. She will be kinder still, by-and-by. + +THE QUEEN (_to Lord Chandos_). + +My Lord Clanbrassil may enter. [_To Simon Renard._] After he has +been here a few moments-- + +[_She speaks to him in a low voice and indicates the door through +which Jane passed._ + +SIMON RENARD. + +I understand, madame. [_Fabiani enters._ + + +SCENE VII + +_The same._ Fabiani + +THE QUEEN. + +Ah, here he is! + +[_She continues to speak to Simon Renard in a low voice._ + +FABIANI (_everybody salutes him; he looks around him. Aside_). + +What does this mean? There are only my enemies here, this morning! +The Queen is speaking in a low tone to Simon Renard. The devil! She +is laughing! It is a bad sign. + +THE QUEEN (_graciously to Fabiani_). + +God be with you, my lord! + +FABIANI (_seizing her hand which he kisses_). + +Madame-- [_Aside._] She smiled at me! The danger is not for me! + +THE QUEEN (_still graciously_). + +I want to speak to you. + +[_She advances to the front of the stage with him._ + +FABIANI. + +And I also, I want to speak to you, madame. I have a right to +reproach you! To keep me away, to exile me so long! Ah, it wouldn't +be thus if you thought of me during these hours of absence as I think +of you! + +THE QUEEN. + +You are unjust. Since you left me, I have thought of no one but you! + +FABIANI. + +Is that really true? Does so much happiness belong to me? Say it to +me again! + +THE QUEEN (_always smiling_). + +I swear it to you! + +FABIANI. + +Then you do indeed love me as I love you? + +THE QUEEN. + +Yes, my lord! Truly, I have thought of no one but you. So much so, +that I have tried to plan a pleasant surprise for your return. + +FABIANI. + +What do you mean? What surprise? + +THE QUEEN. + +A meeting which will give you pleasure! + +FABIANI. + +A meeting with whom? + +THE QUEEN. + +Guess! Can't you guess? + +FABIANI. + +No, madame! + +THE QUEEN. + +Turn around! + +[_He turns and sees Jane on the threshold of the little door, which +is half open._ + +FABIANI (_aside_). + +Jane! + +JANE (_aside_). + +It is he! + +THE QUEEN (_with the same smile_). + +My lord, do you know this young woman? + +FABIANI. + +No, madame! + +THE QUEEN. + +Young woman, do you know this lord? + +JANE. + +Truth before life! Yes, madame. + +THE QUEEN. + +So, my lord, you do not know this woman? + +FABIANI. + +Madame, this is a conspiracy. I am surrounded by enemies. This woman +is doubtless in league with them. I do not know her, madame! I do not +even know who she is, madame! + +THE QUEEN (_rising and striking him in the face with her glove_). + +Ah, you are a coward! You betray one and disown the other! You don't +even know who she is? Do you want me to tell you? This woman is Jane +Talbot, daughter of John Talbot, the good Catholic lord who perished +on the scaffold for my mother. This woman is Jane Talbot, my cousin: +Jane Talbot, Countess of Shrewsbury, Countess of Wexford, Countess of +Waterford, peeress of England. That is who she is, this woman! Lord +Paget, you are commissioner of the private seal; you will remember +our words. The Queen of England solemnly recognizes this woman here +present, as Jane, daughter and sole heiress of the last Earl of +Waterford. [_Showing the papers._] Here are the titles and the +proofs, which you will have sealed with the great seal. It is our +will. + +[_To Fabiani_] Yes, Countess of Waterford, and it is proved! And +you will give back her estates, you wretched man! Ah, you don't know +this woman? You don't know who she is? Well, I am telling you! It is +Jane Talbot. Shall I tell you more yet? + +[_Looking him in the face, in a low voice, between her teeth._ + +Coward, she is your mistress! + +FABIANI. + +Madame! + +THE QUEEN. + +That is what she is! Now, this is what you are! You are a man without +soul, a man without heart, a man without brains. You are a liar and a +villain! You are--By my faith, gentlemen, you need not draw away. I +am quite willing you should hear what I have to say to this man. I am +not lowering my voice, it seems to me. Fabiano, you are a wretch; a +traitor to me, a coward to her; a lying lackey, the most vile, the +lowest of all men. Yet it is true, I made you Earl of Clanbrassil, +Baron of Dinasmonddy and what more? Baron of Darmouth in Devonshire. +Ah, well! I was an idiot! My lords, I ask your pardon for having +forced you to be elbowed by that man there. You, a knight! you, a +noble! you, a lord! Compare yourself a little with those who are +such. Look! look around you! There stand noblemen. There is Bridges, +Baron Chandos; there is Seymour, Duke of Somerset. There are the +Stanleys, who have been Earls of Derby since 1485. There are the +Clintons, who have been barons since 1298. Do you imagine you are +like these people--you? You say that you are allied to the Spanish +family of Penalver, but it is not true; you are only a bad Italian. +Nothing--worse than nothing! Son of a shoemaker in the village of +Larino! Yes, gentlemen, the son of a shoemaker! I knew it, and I did +not tell it; I concealed it, and I made believe I credited this man +when he talked about his nobility. That is the way we are, we women. +Oh, Heaven! I wish there were women here; it would be a lesson to +them all. This scoundrel! this scoundrel! he betrays one woman and +disowns the other. Infamous creature! Oh, yes, indeed you are +infamous. What! I have been speaking all this time and he is not yet +on his knees? On your knees, Fabiani! My lords, force this man to +kneel! + +FABIANI. + +Your Majesty-- + +THE QUEEN. + +This creature whom I have loaded with benefits! this Neapolitan +lackey whom I have made a noble knight and a proud earl of England. +Ah, I ought to have expected this! But I am always like that; I am +obstinate, and afterward I see that I am wrong. It is my fault. +Italian stands for liar: Neapolitan for coward. Every time that my +father made use of an Italian, he repented of it. This Fabiani! You +see Lady Jane, unfortunate child, to what a man you have surrendered +yourself! But I will avenge you. Oh, I ought to have known it from +the first. You will find nothing in an Italian's pocket but a +stiletto, nothing in his soul but treachery. + +FABIANI. + +Madame, I swear to you-- + +THE QUEEN. + +Good! Now he will perjure himself; he will descend to the depths of +infamy; he will make us blush to our finger-tips before these men--we +women who have loved him. He will not even lift up his head! + +FABIANI. + +Yes, madame, I will lift it up! I am lost; I see it clearly. My death +is decided. You will make use of every means, dagger, poison-- + +THE QUEEN (_taking hold of both his hands and dragging him violently +to the front of the stage_). + +Poison! Dagger! What are you saying, Italian? A treacherous +vengeance, a disgraceful vengeance--a vengeance from the back, a +vengeance such as you take in your country? No, Signor Fabiani, +neither dagger nor poison. Do I have to conceal myself? Do I have to +hide in the corners of the street at night and make myself small when +I want revenge? No, by my faith, I want the daylight! Do you hear, my +lord?--the full noonday, the bright sun, the public square, the ax +and the stake, the crowds in the street, the crowds at the windows, +the crowds on the roofs! A hundred thousand witnesses! I want people +to be afraid, do you hear, my lord? I want them to think it splendid, +frightful, magnificent. I want them to say, "It is a woman who has +been wronged, but it is a Queen who takes revenge!" This much envied +favorite, this handsome, insolent young man, whom I have dressed in +velvets and satins, I want to see him bent double, terrified and +trembling, on his knees before a black cloth, with naked feet, with +manacled wrists, hissed by the people, fingered by the executioner. +On this white neck, where I have put a golden collar, I want to put a +rope. I have seen how Fabiani looks upon a throne, I want to see how +he looks upon a scaffold. + +FABIANI. + +Madame-- + +THE QUEEN. + +Not a word! Not a word! You are indeed lost, as you say. You will +mount the scaffold as did Suffolk and Northumberland. This will be a +festival such as I have given before to my good city of London. You +know how she hates you, this good city of mine! Faith, when one wants +vengeance, it's a good thing to be Mary, Queen of England, daughter +of Henry VIII. and mistress of four seas. When you are on the +scaffold, you can make a long speech to the people, if you like, as +Northumberland did, or a long prayer to God, as Suffolk did, in order +to give pardon the time to arrive; but God is my witness that you are +a traitor, and the pardon will not come. This wretched liar who +talked of love to me, and this morning even said "thou" to me--Eh, +gentlemen, it seems to amaze you that I talk thus openly before you; +but I repeat it, what do I care? + +[_To Lord Somerset._] My lord duke, you are constable of the Tower; +demand this man's sword! + +FABIANI. + +Here it is; but I protest. Admitting that it is proved that I +deceived or seduced a woman-- + +THE QUEEN. + +What does it matter to me whether you have seduced a woman? Do I +concern myself about that? These gentlemen are witnesses, it is a +matter of indifference to me! + +FABIANI. + +The seduction of a woman is not a capital offense, madame. Your +Majesty could not procure Frogmorton's condemnation upon the same +accusation! + +THE QUEEN. + +I believe he defies us now! The worm has become a serpent. Who says +you are accused of that? + +FABIANI. + +Of what else am I accused? I am not an Englishman; I am no subject of +your Majesty. I am a subject of the King of Naples and a vassal of +the Holy Father. I will appeal to his embassador, the eminent +Cardinal Polus, to save me. I will defend myself, madame. I am a +stranger! I cannot be tried unless I have committed a crime--a real +crime. What is my crime? + +THE QUEEN. + +You ask what your crime is? + +FABIANI. + +Yes, madame. + +THE QUEEN. + +You all hear this question that he has asked, my lords? You shall +hear the answer. Listen, and look out for yourselves, all of you, +however great you may be, because you will see that I need only stamp +upon the earth with my foot to bring from out of it a scaffold. +Chandos, open that folding-door. Call the Court--every one! Bid every +one enter. + +[_The door at the back is opened. The entire Court enters._ + + +SCENE VIII + +_The same. The Lord Chancellor, all the Court_ + +THE QUEEN. + +Enter, enter, my lords! I am truly pleased to see you to-day. Good! +good! The officers of the law this way: nearer, nearer! Where are the +sergeants-at-arms of the House of Lords? Harriot and Herbert? Ah, +there you are, gentlemen! Be welcome! Draw your swords. Good! Place +yourselves at the right and at the left of that man. He is your +prisoner. + +FABIANI. + +Madame, what is my crime? + +THE QUEEN. + +My Lord Gardiner, my learned friend, you are chancellor of England. +We order you and the twelve lord commissioners of the Star Chamber, +whom we regret not to see here, to assemble yourselves in haste. +Strange things are passing in this palace. Listen, my lords! Madame +Elizabeth has raised more than one enemy to our crown. We have had +the Pietro Caro plot--that man who started the Exeter movement, and +who communicated with Madame Elizabeth by means of a cipher cut on +her guitar. We have had the treachery of Thomas Wyatt who roused the +county of Kent. We have had the rebellion of the Duke of Suffolk, who +was captured in the hollow of a tree, after his followers were +defeated. To-day we have a new attempt. Listen, all of you. To-day, +this morning, a man presented himself at my audience. After a few +words, he drew his dagger on me. I stopped his hand in time. Lord +Chandos and the bailiff D'Amont seized the man. He says that he was +urged to the crime by Lord Clanbrassil. + +FABIANI. + +By me! It is not true! This is a frightful thing! This man does not +exist. This man cannot be found! Who is he? Where is he? + +THE QUEEN. + +He is here! + +GILBERT (_coming out from among the soldiers, behind whom he has been +hidden up to this time_). + +I am the man! + +THE QUEEN. + +According to this man's declarations, we Mary, Queen, accuse before +the Star Chamber this other man, Fabiano Fabiani, Earl of +Clanbrassil, of high treason, and of an attempt of regicide upon our +imperial and sacred person. + +FABIANI. + +Regicide? I? This is monstrous. Oh, my brain is bewildered! I cannot +see clear! What is this trap? Whoever you may be, wretched creature, +dare you affirm that what the Queen says is true? + +GILBERT. + +Yes! + +FABIANI. + +I urged you to regicide? + +GILBERT. + +Yes. + +FABIANI. + +Yes, always yes! Malediction! Oh, it is impossible for you to know +how false that is, gentlemen. That man comes from hell! Unfortunate +wretch, you want to ruin me, but don't you see that you ruin yourself +in the same breath? The crime you charge upon me falls upon you too. +You will send me to the block, but you will die also. Madman, with a +single word you cause two heads to fall! Did you know that? + +GILBERT. + +I know it. + +FABIANI. + +My lords, this man is bribed-- + +GILBERT. + +By you. Here is the purse full of gold which you paid me for the +crime. Your crest and your monogram are embroidered upon it. + +FABIANI. + +Just Heaven! But you don't show me the dagger with which this man, it +is said, attempted to strike the Queen. Where is the dagger? + +LORD CHANDOS. + +Here it is! + +GILBERT (_to Fabiani_). + +It is yours. You gave it to me for that purpose. They will find the +sheath at your house! + +THE LORD CHANCELLOR. + +Earl of Clanbrassil, what reply do you make? Do you recognize this +man? + +FABIANI. + +No! + +GILBERT. + +In truth, he only saw me by night. Let me whisper two words to him, +madame, they will help his memory. [_He approaches Fabiani._] My +lord, you appear to recognize no one to-day--neither the man you have +wronged, nor the woman you have seduced. Ah, the Queen avenges +herself; but the man of the people, he avenges himself also. You +defied me to do it, I think. Behold yourself caught between a double +vengeance, my lord! What do you say to that? I am Gilbert the +engraver! + +FABIANI. + +Yes, I recognize you. My lords, I recognize this man. Since it is +with him I have to deal, I have nothing more to say. + +THE QUEEN. + +He confesses! + +THE LORD CHANCELLOR (_to Gilbert_). + +According to Norman law and Statute 25, Henry VIII., in a case of +high treason of the first degree, a confession does not save the +accomplice. Do not forget, it is a case wherein the Queen has not the +right of mercy, and you will die upon the scaffold as well as the man +you accuse. Therefore reflect! Do you confirm all you have said? + +GILBERT. + +I know that I shall die, and I confirm it. + +JANE (_aside_). + +My God! if this is a dream, it is very horrible. + +THE LORD CHANCELLOR (_to Gilbert_). + +Are you willing to repeat your statements with your hand upon the +gospel? + +[_He presents the gospel to Gilbert, who puts his hand upon it._ + +GILBERT. + +With my hand upon the gospel, and my approaching death before my +eyes, I swear that this man is an assassin; that this dagger, which +is his, was used for the crime; that this purse, which is his, was +given to me in payment for the crime. May God help me! It is the +truth! + +THE LORD CHANCELLOR (_to Fabiani_). + +My lord, what have you to say? + +FABIANI. + +Nothing! I am lost. + +SIMON RENARD (_low to The Queen_). + +Your Majesty sent for the executioner. He is there! + +THE QUEEN. + +Good! Let him come in! + +[_The row of noblemen divides and the Executioner appears; he is +dressed in red and black, and on his shoulder bears a long sword in +its scabbard._ + + +SCENE IX + +_The same._ Executioner + +THE QUEEN. + +My lord Duke of Somerset, these two men to the Tower! My Lord +Gardiner, our chancellor, let their trial before the twelve peers of +the Star Chamber commence to-morrow, and may God keep watch over +England. We expect them to be judged, both of them, before we leave +for Exford, where we are to open Parliament, and for Windsor, where +we are to spend Easter. + +[_To the Executioner._] Approach! I am glad to see you! You are a +faithful servant. You are old; you have already witnessed three +reigns. It is customary for the sovereigns of this kingdom to make +you as costly a gift as possible, upon their ascension. My father, +Henry VIII., gave you the diamond clasp of his cloak. My brother, +Edward VI., gave you a goblet of chased gold. It is my turn now; I +have not given you anything yet. I must give you a present. Come +nearer! [_Indicating Fabiani._] Do you see that head--that young, +adorable head; that head, which, up to this morning, was the dearest, +the most precious thing to me, in all my kingdom? Well! that +head--look at it well--I give it to you! + + + + +_THIRD DAY_ + +PART I + +WHICH OF THE TWO? + +Scene.--_Hall in the interior of the Tower of London. Pointed arch +upheld by large pillars. To the right and to the left two low doors +to two cells. To the right a dormer-window, which is supposed to +overlook the Thames. To the left a dormer-window, which is supposed +to overlook the streets. On each side a door concealed in the wall. +In the background, a gallery with a sort of balcony shut in by glass +and overlooking the exterior courts of the Tower_ + + +SCENE I + +Gilbert, Joshua + +GILBERT. + +Well? + +JOSHUA. + +Alas! + +GILBERT. + +No more hope? + +JOSHUA. + +No more hope. [_Gilbert goes to the window._ + +You won't see anything from the window. + +GILBERT. + +You inquired, didn't you? + +JOSHUA. + +I am only too sure. + +GILBERT. + +It is for Fabiani? + +JOSHUA. + +It is for Fabiani. + +GILBERT. + +How fortunate that man is! Maledictions on me! + +JOSHUA. + +Poor Gilbert! Your turn will come! To-day, it is he; to-morrow it +will be you! + +GILBERT. + +What do you say? We are not thinking of the same thing. What are you +talking about? + +JOSHUA. + +About the scaffold which they are building. + +GILBERT. + +And I--I am speaking of Jane! + +JOSHUA. + +Of Jane? + +GILBERT. + +Yes, of Jane! Only of Jane. What does the rest matter to me? You have +forgotten, have you? You don't remember that for one whole month, +glued to the bars of my cell, from which I can look into the street, +I have watched her, pale and sad, wandering around the base of this +tower, which holds two men, Fabiani and me. You have forgotten all +about my anguish, have you, and my doubts, my misgivings? For which +of us does she come? Poor wretch, I ask myself this question day and +night. I asked you, Joshua; and last night you promised to try to see +her, and speak to her. Oh, tell me! Did you learn anything! Is it for +me she comes, or is it for Fabiani? + +JOSHUA. + +I learned that Fabiani is certainly to be beheaded to-day, and you +to-morrow, and from that moment I confess I lost my head, Gilbert. +The scaffold drove Jane entirely out of my thoughts. Your death-- + +GILBERT. + +My death! What do you mean by that word! My death is that Jane loves +me no longer. From the day that I was no longer beloved, I was dead. +Oh, yes! truly dead. Joshua, what has remained of me since that time +won't be worth taking to-morrow. Oh, Joshua, you don't know, you +can't understand what a man is when he loves. If any one had said to +me, two months ago, "Jane, your Jane without reproach, your Jane so +pure, your love, your pride, your lily, your treasure, Jane will give +herself to another; will you take her then?" I should have said, "No, +I will not have her! rather death a thousand times for her and for +myself." And I should have crushed under my feet any one who had +dared to speak to me like that. If I would take her?--To-day, you +know, Jane is no longer the Jane without stain, whom I adored, the +Jane whose brow I hardly dared touch with my lips. Jane has given +herself to another--to a wretch! I know it--and--well, it's all the +same to me. I love her! My heart is broken, but I love her! I would +kiss the hem of her dress, and I would ask her pardon, if she would +only take me. She might be in the gutter with those who belong there, +and I would take her out, and I would hold her close to my heart, +Joshua! Joshua, I would give, not a hundred years of life, since I no +longer possess one day, but the eternity which will be mine +to-morrow, just to see her smile at me once more--just once more +before my death--and to have her say to me those dear words she used +to say, "I love you." Joshua, Joshua, that is the way a man's heart +is, when he loves. You think you would kill the woman who betrays +you? No, you wouldn't kill her; you would lie at her feet afterward, +the same as before, only you would be sad. You think I am weak? What +should I have gained in killing Jane? Oh, my heart will burst with +all these unbearable thoughts! If she only loved me now, what would +it matter to me, what she has done? But she loves Fabiani! But she +loves Fabiani! It is for Fabiani that she comes here! There is one +thing that is sure, it is that I want to die. Have pity on me, +Joshua! + +JOSHUA. + +Fabiani will die to-day. + +GILBERT. + +And I to-morrow. + +JOSHUA. + +God is above all. + +GILBERT. + +I will be revenged on him to-day. To-morrow, he will be revenged on +me! + +JOSHUA. + +My brother, here is the second constable of the Tower, Master Eneas +Dulverton. You must go in. I will see you again to-night. + +GILBERT. + +Oh, to die without being beloved! To have no one to weep for us! +Jane! Jane! Jane! + +[_Re-enters his cell._ + +JOSHUA. + +Poor Gilbert! Good God! Who could have foretold that what has +happened would happen? + +[_Goes out. Enter Simon Renard and Master Eneas._ + + +SCENE II + +Simon Renard, Master Eneas Dulverton + +SIMON RENARD. + +As you say, it is very extraordinary. But what can you expect? The +Queen is crazy. She doesn't know what she wants. You can't count upon +anything. She is a woman. I would like to know what she is here for. +Well! a woman's heart is a riddle of which King Francis I. wrote the +solution on that pane of glass at Chambord-- + + "A woman's heart is most capricious; + Who trusts her, finds life not propitious." + +Listen to me, Master Eneas. We are old friends; we must get through +with this thing to-day. Everything here depends upon you. If you are +ordered--[_He whispers to Eneas_] be slow about it; let it fall +through skillfully. Let me have two clear hours before me to-night, +and what I want will be accomplished; to-morrow there will be no +favorite. I shall be all-powerful, and you will be baronet and +lieutenant of the Tower the day after. Do you understand? + +MASTER ENEAS. + +I understand. + +SIMON RENARD. + +Very well. Some one is coming. We must not be seen together. Go out +that way. I am going to meet the Queen. [_They separate._ + + +SCENE III + +_A Jailer enters with caution, then ushers in Lady Jane._ + +THE JAILER. + +You are where you wished to be, my lady. Here are the doors to the +two cells. My recompense, now, if you please. + +[_Jane unfastens her diamond bracelet and gives it to him._ + +JANE. + +There it is. + +THE JAILER. + +Thanks. Don't compromise me. + +[_He goes out._ + +JANE (_alone_). + +Kind Heaven! What shall I do? It is I who have destroyed him. I must +be the one to save him! I can never do it, never! A woman can do +nothing! The scaffold-- The scaffold! Oh, it is horrible! Come, no +more tears; let us have action! I never can do it! I never can do it! +Have mercy on me, my God! I think some one is coming. Whose voice is +that? I recognize it. It is the Queen's voice! Ah, all is lost! + +[_She hides behind a pillar. The Queen and Simon Renard enter._ + + +SCENE IV + +_The Queen; Simon Renard; Jane, concealed_ + +THE QUEEN. + +Ah, the change surprises you? I am no longer myself? Well, what does +that matter to me? It is the truth! I don't want him to die--now! + +SIMON RENARD. + +Yet yesterday, your Majesty ordered the execution to take place +to-day. + +THE QUEEN. + +As I ordered the day before, that the execution should take place +yesterday. As I ordered Sunday that the execution should take place +Monday. To-day I ordered the execution to take place to-morrow. + +SIMON RENARD. + +As a matter of fact, since the second Sunday in Advent, when the +decision was pronounced in the Star Chamber, and the two criminals +came back to the Tower preceded by the executioner with the ax turned +toward them--and that was three weeks ago--every day since then your +Majesty has put the matter off until to-morrow. + +THE QUEEN. + +Well, can't you understand what that means, sir? Must I explain +everything, and must a woman be forced to show her naked heart to +you, because she is a Queen--unfortunate woman that she is--and +because you represent the Prince of Spain, her future husband? You +don't understand, you men, that with a woman the heart has its +chastity as well as the body. Well, then, yes--since you want to +know, since you make believe that you don't understand anything--yes, +every day I put off Fabiani's execution until to-morrow, because +every morning my courage fails me when I think that the bell of the +Tower of London will ring out his death-knell; because to think they +are sharpening an ax for that man, breaks my heart; because it kills +me to think they will nail a coffin over him; because I am a woman, +because I am weak, because I am insane, because I love him yet, my +God! There! have you got enough? Are you satisfied? Do you understand +now? Oh, some day, my lord, I will have my revenge on you, for all +these things you have made me tell you! + +SIMON RENARD. + +Yet it ought to be about time to get through with this Fabiani! You +expect to marry my royal master, the Prince of Spain, madame! + +THE QUEEN. + +If the Prince of Spain is not satisfied, let him say so; we will +marry somebody else. Suitors are not lacking. The son of the King of +the Romans, the Prince of Piedmont, the Infante of Portugal, Cardinal +Polus, the King of Denmark, and Lord Courtenay are as good noblemen +as he! + +SIMON RENARD. + +Lord Courtenay! Lord Courtenay! + +THE QUEEN. + +An English baron is worth a Spanish prince, my lord. Besides, Lord +Courtenay is descended from the emperors of the East. Oh, get mad if +you like! + +SIMON RENARD. + +Fabiani has made himself hated by every one in London who has got a +heart. + +THE QUEEN. + +Except by me! + +SIMON RENARD. + +Peasants and lords are united against him, and if he is not executed +this very day, as your Majesty has promised-- + +THE QUEEN. + +Well! + +SIMON RENARD. + +There will be an uprising among the people. + +THE QUEEN. + +I've got my lansquenets. + +SIMON RENARD. + +There will be a conspiracy among the nobles. + +THE QUEEN. + +I have the executioner. + +SIMON RENARD. + +Your Majesty swore upon your mother's prayer-book that you would not +pardon him. + +THE QUEEN. + +Here is a signature in blank which he has sent to me, in which I +swear on my imperial crown that I will pardon him! My father's crown +is worth as much as my mother's prayer-book. One oath destroys the +other. But who says that I will pardon him? + +SIMON RENARD. + +He has boldly betrayed you, madame! + +THE QUEEN. + +What does that matter? All men are alike about that. I don't want him +to die. Listen, my lord--I mean Sir Bailiff. Good God! you confuse my +mind so much that I can't even tell whom I am talking to. Oh, I know +all that you want to say to me! I know he is a vile, degraded, +contemptible man. I know it as well as you, and I blush for it. But I +love him! What do you want me to do about it? I would probably love a +better man less. Moreover, who are you--all of you--great as you may +be? Are you any better than he? You will tell me that he is a +favorite, and the English nation detests favorites! Don't I know that +you only want to overthrow him to put the Earl of Kildare--that fool, +that Irishman--in his place, that he may have twenty heads a day cut +off? What does that matter to you? Don't talk to me about your Prince +of Spain; you make light enough of him. Don't talk to me about the +anger of M. de Noailles, the French embassador! M. de Noailles is an +idiot, and I will tell him so to his face. As for me, I am a woman; I +want things, and then I don't want them. I am not made all in one +piece. That man's life is necessary to my life. Oh, I beg of you, +don't put on that air of virginal sincerity and good faith. I know +all your intrigues. Between us two, you know as well as I that he +didn't commit the crime for which he is condemned. Well, it is +settled. I don't want Fabiani to die. Am I the mistress, or am I not? +Come, Sir Bailiff, let us talk about something else, will you? + +SIMON RENARD. + +I withdraw, madame. All your nobles have spoken to you through my +voice. + +THE QUEEN. + +What do I care for my nobles! + +SIMON RENARD (_aside_). + +Suppose we try the people! + +[_He goes out with respectful salutation._ + +THE QUEEN (_alone_). + +He went out with a singular expression. That man is capable of +arousing a rebellion. I must hurry off to the City Hall. What ho! +Some one! [_Master Eneas and Joshua appear._ + + +SCENE V + +_The same, without Simon Renard. Master Eneas, Joshua_ + +THE QUEEN. + +Is it you, Master Eneas? This man and you, you must attend to it that +the Earl of Clanbrassil makes his escape at once. + +MASTER ENEAS. + +Madame-- + +THE QUEEN. + +Very well! I won't trust you; I remember you are one of his enemies. +Are there none but enemies of the man I love, around me? I will wager +that this turnkey, whom I don't even know, he hates him too. + +JOSHUA. + +You are right, madame. + +THE QUEEN. + +My God! My God! This Simon Renard is more a king than I am a queen! +What! not one person to trust? No one to whom I can give power to +plan his escape? + +JANE (_coming out from behind the pillar_). + +Yes, madame, I! + +JOSHUA (_aside_). + +Jane! + +THE QUEEN. + +You! Who are you? Ah, it is you, Jane Talbot. What are you doing +here? Never mind, you are here! You have come to save Fabiani; thank +you! I ought to hate you, Jane; I ought to be jealous of you. I have +reason enough to be! But I'm not! I love you for loving him! In front +of the scaffold there is no more jealousy--nothing but love! You are +like me, you forgive him. I understand; men don't understand these +things. Lady Jane, let us have it clearly understood. We are both of +us miserable, are we not? We must save Fabiani! I have no one but +you. I must let you do it! At least, I am sure, you will do it with +all your heart. Take charge of it, gentlemen, both of you. Do +everything that Lady Jane directs you to do, and upon your heads, you +will be answerable for the execution of her orders. Embrace me, young +woman! + +JANE. + +The Thames washes the base of the Tower on this side. I noticed a +secret passage. A boat at that place, and the escape might be made by +the Thames. It is the safest way. + +MASTER ENEAS. + +It will be impossible to get a boat there, before an hour. + +JANE. + +That is very long. + +MASTER ENEAS. + +It will soon pass! It will be dark, too. That will be better if her +Majesty wishes to keep the escape secret. + +THE QUEEN. + +Perhaps you are right. In one hour then. I leave you, Lady Jane. I +must go to the City Hall. Save Fabiani! + +JANE. + +Make yourself easy, madame! + +[_The Queen goes out; Jane follows her with her eyes._ + +JOSHUA (_front of stage_). + +Gilbert was right; she loves Fabiani! + + +SCENE VI + +_The same, without The Queen_ + +JANE (_to Master Eneas_). + +You have heard the Queen's commands. A boat, there, at the base of +the Tower, the keys of the secret corridors, a cap, and a cloak. + +MASTER ENEAS. + +Impossible to get all that before night. In one hour, my lady. + +JANE. + +Very well! Go! Leave me with this man. + +[_Master Eneas goes out. Jane follows him with her eyes._ + +JOSHUA (_aside, at front stage_). + +"This man!" It is very natural. One who has forgotten Gilbert will +not remember Joshua. + +[_He goes to Fabiani's cell and is about to open it._ + +JANE. + +What are you doing there? + +JOSHUA. + +Forestalling your wishes, my lady. I am opening this door. + +JANE. + +What door is that? + +JOSHUA. + +The door of my Lord Fabiani's cell. + +JANE. + +And that one? + +JOSHUA. + +It is the door to another man's cell. + +JANE. + +Who is he--that other? + +JOSHUA. + +Another who is condemned to death; some one whom you do not know--a +workman named Gilbert. + +JANE. + +Open that door! + +JOSHUA (_after having opened it_). + +Gilbert! + + +SCENE VII + +Jane, Gilbert, Joshua + +GILBERT (_from the interior of his cell_). + +What is wanted? + +[_He appears on the threshold, sees Jane, leans trembling against +the wall._ + +Jane! Lady Jane Talbot! + +JANE (_on her knees, without lifting her eyes to him_). + +Gilbert, I have come to save you! + +GILBERT. + +Save me! + +JANE. + +Listen to me! Pity me! Do not crush me! I know all that you would +say. It is all true; but don't say it to me. I must save you. +Everything is ready. The escape is safe. Let yourself be saved by me, +just as if I were anybody else. I don't ask any more. You need never +recognize me again. You need never know who I am! Don't forgive me! +Just let me save you. Will you? + +GILBERT. + +Thank you! It is useless. Why wish to save my life, Lady Jane, if you +do not love me? + +JANE (_with joy_). + +Oh, Gilbert, is that what you ask me, truly? Gilbert, do you deign to +think of what is passing in this poor girl's heart? Gilbert, is it +possible that the love I have for you can interest you, can seem +worth thinking about? Oh, I thought it was quite indifferent to +you--that you despised me too much to wonder what I did with my +heart. Gilbert, if you only knew how these words you have spoken make +me feel! Oh, it is an unhoped-for gleam of sunshine in my dark night. +Oh, listen to me! If I dared to draw near to you, if I dared to touch +your garments, if I dared to take your hand in mine, if I dared once +more to lift mine eyes to you and to Heaven, as I did once--do you +know what I would say to you? On my knees, prostrate, weeping at your +feet, with sobs on my lips and the joy of angels in my heart, I would +say, "Gilbert, I love you!" + +GILBERT (_taking her to his heart with rapture_). + +You love me? + +JANE. + +Yes, I love you! + +GILBERT. + +You love me! My God! she loves me. It is indeed true! She has said it +herself; her lips have spoken it. God in heaven! + +JANE. + +My Gilbert! + +GILBERT. + +You say all is prepared for my escape? Quick--let us hurry! Life! I +want to live! Jane loves me! This roof descends on my head and +crushes it. I want air! I suffocate here! Let us fly quickly. Let us +go, Jane! I want to live! I want to live! I am beloved. + +JANE. + +Not yet. We must have a boat. We must wait until night. But be easy. +You are saved. In less than an hour we will be outside. The Queen is +at the City Hall and will not come back so soon as that. I am +mistress here. I will explain it all to you. + +GILBERT. + +Wait an hour? That is long. Oh, I yearn to get back to life and +happiness. Jane, Jane, you are there; I will live! You love me! I am +come back from hell! Restrain me. I will do something mad. I will +laugh, I will sing. Ah, you do love then? + +JANE. + +Yes, I love you! yes, I love you! And listen, Gilbert, believe me; +this is the truth as though I were on my death-bed: I have never +loved any one but you. Even in my fall, even in the midst of my sin, +I loved you. Scarcely had I fallen into the arms of that demon who +ruined me, when I wept for my angel. + +GILBERT. + +Forgotten! forgiven! Never speak of it again, Jane! What do I care +for the past? Who could resist your voice, who would do other than I +am doing? Yes, I pardon everything, my well-beloved child. The +foundation of love is mercy and pardon, Jane; jealousy and despair +burned the tears in my eyes, but I pardon you, but I thank you! You +are the only truly bright thing in this world; at each word that you +speak, I feel grief dies, and joy is born in my soul. Jane, lift your +head, stand up straight before me there and look at me! I tell you +that you are my child. + +JANE. + +Always generous! Gilbert, my well-beloved. + +GILBERT. + +I wish I were outside now: in our flight, far away: free, with you! +Oh, this night, which will never come! The boat is not there. Jane, +we will leave London at once, this night. We will leave England; we +will go to Venice. Men of my trade make a great deal of money there. +You will belong to me! Oh, my God! I am insane! I have forgotten the +name you bear. It is too proud a one, Jane. + +JANE. + +What do you mean? + +GILBERT. + +Daughter of Lord Talbot. + +JANE. + +I know one prouder still. + +GILBERT. + +Which? + +JANE. + +Wife of the workman Gilbert. + +GILBERT. + +Jane! + +JANE. + +Oh, no! Don't think I ask so much as that. I know I am unworthy of +that. I do not lift my eyes so high. I would never take such an +advantage of your pardon. The poor engraver Gilbert shall make no +mesalliance with the Countess of Waterford. No, I will follow you, I +will love you, I will never leave you; I will lie all day at your +feet, all night at your door. I will watch you work, I will help +you, I will give you all you need. I will be to you something less +than a sister, something more than a dog. And if you ever marry, +Gilbert--because God will want you to find somebody, some pure woman, +without stain and worthy of you--well, if you marry, and if your wife +is good, if she will let me, I will be your wife's servant. If she +won't have me, I will go off, far off, to die where I can. That is +the only way I shall ever leave you. If you do not marry I will +stay with you, always; I will be gentle and patient--oh, you shall +see!--and if people think ill of me because I am with you--well, they +can think what they please. I have no longer the right to blush, you +see--I am only an unfortunate woman! + +GILBERT (_falling at her feet_). + +You are an angel! You are my wife! + +JANE. + +Your wife? Ah, you are like God--your pardon purifies me. Be blessed, +Gilbert, for putting this crown upon my brow. + +[_Gilbert takes her up and folds her to his heart. While they stand +thus in each other's arms, Joshua takes Jane's hand._ + +JOSHUA. + +It is Joshua, Lady Jane! + +JANE. + +Good Joshua! + +JOSHUA. + +You did not know me a little while ago. + +JANE. + +No, I had to begin with him. + +[_Joshua kisses her hand._ + +GILBERT (_pressing her in his arms_). + +Ah, what happiness! But is it real, all this happiness? + +[_For some time a distant noise has been heard; confused voices, a +tumult. It grows dark._ + +JOSHUA. + +What is that noise? + +[_He goes to the window which overlooks the street._ + +JANE. + +Oh! My God! Let nothing happen! + +JOSHUA. + +There is a great crowd off there. Pick-axes, pikes, torches. The +Queen's pensioners on horseback, and fighting. They are all coming +this way! What cries! The devil! It looks like a public revolt. + +JANE. + +If it is only not against Gilbert. + +DISTANT CRIES. + +Fabiani! Death to Fabiani! + +JANE. + +Can you hear? + +JOSHUA. + +Yes. + +JANE. + +What are they saying? + +JOSHUA. + +I can't distinguish! + +JANE. + +Oh, my God! My God! + +[_Master Eneas and a boatman enter hastily through the concealed +door._ + + +SCENE VIII + +_The same. Master Eneas, a Boatman_ + +MASTER ENEAS. + +My Lord Fabiani! My lord, not an instant to lose! The people know the +Queen wanted to save your life. There is a revolt of the London +populace against you. In a quarter of an hour you will be torn to +pieces. My lord, save yourself. Here is a cloak and a cap. Here are +the keys. Here is a boatman. Don't forget that you owe it all to me. +My lord, make haste! [_Low to Boatman._] Remember, you are not to +hurry. + +JANE (_hastily covers Gilbert with the cloak and cap; low to +Joshua_). + +Heaven! If this man will only not recognize him. + +MASTER ENEAS (_looking into Gilbert's face_). + +What! this is not Lord Clanbrassil. You are not fulfilling the +Queen's orders, my lady. You are helping another to escape. + +JANE. + +All is lost! I ought to have foreseen this! Ah, sir, it is true! Have +mercy-- + +MASTER ENEAS (_low to Jane_). + +Silence! Go on! I have said nothing! I have seen nothing! + +[_He goes up stage with an air of indifference._ + +JANE. + +What does he say? Ah, Providence befriends us. Everybody wants to +save Gilbert. + +JOSHUA. + +No, my lady, everybody wants to destroy Fabiani. + +[_During the entire scene the cries have increased outside._ + +JANE. + +We must hurry, Gilbert. Come quickly. + +JOSHUA. + +Let him go alone! + +JANE. + +Leave him! + +JOSHUA. + +Only for a moment. No woman in the boat, if you want it to arrive +safe. It is too light yet; your dress is white. After the peril is +over, you will find each other again. Come this way with me. Let him +go that way. + +JANE. + +Joshua is right. Where will I find you, my Gilbert? + +GILBERT. + +Under the first arch of London Bridge. + +JANE. + +Good! Go quickly. The tumult increases. Oh, I wish you were safe +away! + +JOSHUA. + +Here are the keys. There are twelve doors to open and shut between +here and the water's edge. It will take you a good quarter of an +hour. + +JANE. + +A quarter of an hour! Twelve doors! That is frightful. + +GILBERT (_embracing her_). + +Good-by, Jane! A few more moments of separation and we will rejoin +each other for a life-time! + +JANE. + +For eternity. [_To the Boatman._] Sir, I place him in your care! + +MASTER ENEAS (_low to Boatman_). + +For fear of accident, don't hurry. + +[_Gilbert goes out with the Boatman._ + +JOSHUA. + +He is saved! Now for us! We must shut this cell. + +[_He shuts the door of Gilbert's cell._ + +All right! Come quickly; this way! + +[_He goes out, with Jane, through the other concealed door._ + +MASTER ENEAS (_alone_). + +Fabiani remains in the trap. Now, there is a shrewd little woman whom +Simon Renard would have paid a good deal for. How will the Queen take +all this? Provided the consequences do not fall on my shoulders! + +[_The Queen and Simon Renard enter with rapid steps. The tumult +outside has steadily increased. It is night. Cries of death, torches, +lights, sounds of moving masses; the click of arms, shots, the +stamping of horses. Several noblemen with daggers in their hands +accompany The Queen. Among them are the herald of England, +Clarence, bearing the royal banner, and the herald of the Order of +the Garter, Jarretiere, bearing the banner of that order._ + + +SCENE IX + +_The Queen, Simon Renard, Master Eneas, Lord Clinton, the two +heralds, lords, pages, etc._ + +The Queen (_low to Master Eneas_). + +Has Fabiani escaped? + +MASTER ENEAS. + +Not yet! + +THE QUEEN. + +Not yet! [_Giving him a terrible look._ + +MASTER ENEAS (_aside_). + +The devil! + +THE PEOPLE (_outside_). + +Death to Fabiani! + +SIMON RENARD. + +You must make your decision on the spot, madame. The people demand +this man's death! The Tower is besieged. The revolt is formidable. +Your nobles have been cut to pieces on London Bridge. Your Majesty's +pensioners hold their own yet; but, just the same, your Majesty has +been chased street by street, from the City Hall to the Tower of +London. Madame Elizabeth's followers have joined the people. You can +tell that by the venom of the mob. All this is serious. What does +your Majesty command? + +THE PEOPLE. + +Fabiani! Death to Fabiani! + +[_They grow louder, and come nearer._ + +THE QUEEN. + +Death to Fabiani! Do you hear that howling populace, my lords? You +must throw a man out to them. The rabble is hungry! + +SIMON RENARD. + +What does your Majesty command? + +THE QUEEN. + +By heaven, my lords! it seems to me you all stand trembling around +me! Upon my soul! must a woman show you your duty as noblemen? To +horse, my lords, to horse! Are you afraid of the rabble? Are swords +afraid of clubs? + +SIMON RENARD. + +Don't let things go any further. Yield, madame, while there is yet +time. You can yet say "the rabble"; in an hour you will have to say +"the people"! + +[_The cries increase, the noise comes nearer._ + +THE QUEEN. + +In an hour! + +SIMON RENARD (_going to gallery and returning_). + +In a quarter of an hour, madame. The first wall of the Tower is +broken down. One more step, the mob will be here. + +THE PEOPLE. + +To the Tower! to the Tower! Fabiani! death to Fabiani! + +THE QUEEN. + +How right they are who call the people terrible! Fabiano! + +SIMON RENARD. + +Do you want to see him torn to pieces before your eyes? + +THE QUEEN. + +Do you know this is infamous, that not one of you stirs? In the name +of Heaven, defend me, my lords! + +LORD CLINTON. + +You? yes, madame. Fabiano? no! + +THE QUEEN. + +Very well, I will tell you all then, so much the worse for you. +Fabiano is innocent. Fabiano never committed the crime for which he +was condemned. It was I, and this man here, and the engraver Gilbert. +We did it all; we invented it all; we imagined it all. It was all a +farce! Contradict me if you dare, Sir Bailiff! Now, gentlemen, will +you defend him? He is innocent; I swear it. On my head, on my crown, +on my God, on my mother's soul, he is innocent of the crime. It is as +true as that you stand there, Lord Clinton! Defend him! Annihilate +these wretches as you annihilated Tom Wyatt, my brave Clinton, my old +friend, my good Robert! I swear to you that it is false that Fabiano +tried to assassinate the Queen. + +LORD CLINTON. + +There is another Queen whom he tried to assassinate--England! + +[_The cries continue outside._ + +THE QUEEN. + +The balcony! Open the balcony. I myself will prove to the people that +he is not guilty. + +SIMON RENARD. + +Prove to the people that he is not Italian. + +THE QUEEN. + +When I think it is Simon Renard, one of Cardinal Granvelle's +creatures, who dares to speak to me like this! Well, open that door! +open that cell! Fabiano is there. I want to see him; I want to speak +to him. + +SIMON RENARD (_low_). + +What are you doing? For his own sake, you needn't let everybody know +where he is. + +THE PEOPLE. + +Death to Fabiani! Long live Elizabeth! + +SIMON RENARD. + +They cry long live Elizabeth, now! + +THE QUEEN. + +My God! My God! + +SIMON RENARD. + +Choose, madame [_with one hand he points to the cell_], this head to +the people [_with the other hand he designates the crown which the +Queen wears_] or that crown to Madame Elizabeth. + +THE PEOPLE. + +Death! Death! Fabiani! Elizabeth! + +[_A stone breaks through a pane of glass near The Queen._ + +SIMON RENARD. + +Your Majesty is destroying herself without saving him! The second +court is reached. What does the Queen command? + +THE QUEEN. + +You are all cowards, and Clinton is the worst of all. Ah, Clinton, I +will remember this, my friend! + +SIMON RENARD. + +What does the Queen command? + +THE QUEEN. + +Oh, to be abandoned by all of you! to have confessed all without +obtaining anything! What sort of creatures are these noblemen here? +That populace is infamous! I would like to crush them under my feet. +There are times then, when a queen is nothing but a woman? You will +pay dear for this, gentlemen! + +SIMON RENARD. + +What does the Queen command? + +THE QUEEN (_crushed_). + +Whatever you will. Do what you like. You are an assassin. [_Aside._] +Oh, Fabiano! + +SIMON RENARD. + +Clarence! Jarretiere! Come here! Master Eneas, open the great balcony +of the gallery. + +[_The balcony in the back opens. Simon Renard steps out upon it, +Clarence at his right, Jarretiere at his left. Immense tumult outside._ + +THE PEOPLE. + +Fabiani! Fabiani! + +SIMON RENARD (_on the balcony, turned toward the people_). + +In the Queen's name! + +HERALDS. + +In the Queen's name! + +[_Profound silence outside._ + +SIMON RENARD. + +People, the Queen bids you know this: To-day, this very night, one +hour after the curfew, Fabiano Fabiani, Earl of Clanbrassil, covered +with a black veil from head to foot, bound with an iron gag, a yellow +wax candle weighing three pounds in his hand, will be led, by +torchlight, from the Tower of London, through Charing Cross, to the +old Market-Place of the city, there to be publicly punished and +beheaded, for the crimes of high treason and attempt of regicide on +the imperial person of the Queen! + +[_Immense applause outside._ + +THE PEOPLE. + +Long live the Queen! Death to Fabiani! + +SIMON RENARD (_continuing_). + +And, in order that no one in this city of London shall ignore it, +this is what the Queen orders during the entire journey, which the +criminal must make from the Tower of London to the old Market-Place: +The great bell of the Tower shall toll; at the moment of the +execution, three cannon-shots will be fired--the first, when he +mounts the scaffold; the second, when he kneels upon the black cloth; +the third, when his head falls. [_Applause._] + +THE PEOPLE. + +Illuminate! Illuminate! + +SIMON RENARD. + +This night the Tower and the city of London will be illuminated with +lights and torches, in sign of joy. I have spoken. [_Applause._] God +protect the old charter of England! + +THE TWO HERALDS. + +God protect the old charter of England. + +THE PEOPLE. + +Death to Fabiani! Long live Mary! Long live the Queen! + +[_The balcony is closed. Simon Renard approaches The Queen._ + +SIMON RENARD. + +What I have just done will never be forgiven me by the Princess +Elizabeth! + +THE QUEEN. + +Nor by Queen Mary. Leave me, sir. + +[_She dismisses them all with a gesture._ + +SIMON RENARD (_low to Master Eneas_). + +Master Eneas, look to the execution! + +MASTER ENEAS. + +Count upon me! + +[_Simon Renard goes out. As Master Eneas is about to go, The +Queen rushes to him, seizes him by the arm and drags him violently +to the front of the stage._ + + +SCENE X + +The Queen, Master Eneas + +THE PEOPLE (_outside_). + +Death to Fabiani! Fabiani! Fabiani! + +THE QUEEN. + +Whose head is worth most at this moment, do you think--Fabiani's or +yours? + +MASTER ENEAS. + +Madame! + +THE QUEEN. + +You are a traitor! + +MASTER ENEAS. + +Madame! [_Aside._] The devil! + +THE QUEEN. + +No explanations! I swear by my mother, if Fabiano dies, you die! + +MASTER ENEAS. + +But, madame-- + +THE QUEEN. + +Save Fabiano, and you save yourself--not otherwise! + +THE PEOPLE. + +Death to Fabiani! Fabiani! + +MASTER ENEAS. + +Save the Earl of Clanbrassil? But the people are out there! It is +impossible! By what means? + +THE QUEEN. + +Find some! + +MASTER ENEAS. + +What could I do? + +THE QUEEN. + +Do what you would for yourself. + +MASTER ENEAS. + +The people will keep armed until after the execution. To satisfy +them, somebody must be beheaded! + +THE QUEEN. + +Anybody you please. + +MASTER ENEAS. + +Anybody I please? Wait, madame! The execution will be at night, by +torchlight; the criminal covered with a black veil, gagged; the +people kept a long way from the scaffold by the pike-men, the same as +always. It is enough, if the people see a head fall. The thing is +possible. If only the boatman is there yet! I told him not to hurry. + +[_He goes to the window which overlooks the Thames._ + +There he is, but we're just in time! + +[_He leans out of the window, a torch in his hand, waving his +handkerchief, then he turns to The Queen._ + +All right! I will answer for Lord Fabiani, madame! + +THE QUEEN. + +On your head? + +MASTER ENEAS. + +On my head! + + + + +THIRD DAY + +PART II + + +Scene.--_A hall or room into which lead two staircases, one +ascending and the other descending. The entrance to each of these +staircases fills a portion of the back of the stage. The one which +ascends ends at the frieze; the one which descends ends +underneath--neither the beginning nor the end is visible_ + +_The room is draped with black in a peculiar fashion. The wall on the +right, the wall on the left, and the ceiling are covered with a black +cloth on which is a large white cross; the background, which faces +the spectator, with a white cloth and large black cross. These black +and white draperies continue until they are lost to sight under the +staircases. To the right and to the left, there is an altar draped +with black and white, decorated as if for a funeral. Tall candles. No +priests. A few funeral lamps, hanging here and there from the vaulted +roof, light the room and the staircases feebly. What really lights +the room is the great white cloth in the background, through which +a reddish light shines as if there were a fiery furnace behind. The +room is paved with tombstones. As the curtain rises, the motionless +figure of The Queen is seen in black outline on this transparent cloth_ + + +Scene I + +_Jane, Joshua. They enter cautiously through a little door behind +the black draperies, which they push aside_ + +JANE. + +Where are we, Joshua? + +JOSHUA. + +On the great landing of the staircase down which the criminals go to +execution. It was draped in this way under Henry VIII. + +JANE. + +No way of getting out of the Tower? + +JOSHUA. + +The people are on guard at every exit. They want to be sure of +getting their criminal this time. No one can go out before the +execution. + +JANE. + +The proclamation they made from the balcony rings in my ears yet. +This is a horrible thing, Joshua. + +JOSHUA. + +Oh, I've seen many such! + +JANE. + +If only Gilbert has been able to escape. Do you think he is safe, +Joshua? + +JOSHUA. + +I am sure of it. + +JANE. + +You are sure of it, good Joshua? + +JOSHUA. + +The Tower wasn't surrounded on the waterside. Then, when he started, +the riot wasn't as bad as it was afterward. It was a fine riot, if +you but knew it. + +JANE. + +You are sure that he is safe? + +JOSHUA. + +And waiting for you under the first arch of London Bridge, where you +will meet him before midnight. + +JANE. + +Heaven! He will be anxious too. + +[_Seeing the shadow of The Queen._ + +My God! what is that, Joshua? + +JOSHUA (_low, taking her hand_). + +Silence! It is the lioness, on the watch. + +[_While Jane looks at this figure in horror, a distant voice, which +seems to come from above, pronounces these words slowly and +distinctly._ + +VOICE. + +The man, covered with a black veil, who follows me, is the very high +and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of +Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded +at the London Market-Place, for the crimes of regicide and high +treason. God have mercy on his soul! + +ANOTHER VOICE. + +Pray for him! + +JANE (_trembling_). + +Joshua, do you hear? + +JOSHUA. + +Yes, I hear such things every day. + +[_A funeral procession appears at the head of the staircase, and +gradually forms itself on the steps as it descends. A man dressed in +black is at the head, bearing a white banner with black cross. Next +comes Master Eneas Dulverton, wearing a great black cloak, holding +his Constable's baton in his hand. Then a group of halberdiers, +dressed in red; then a man in white, bearing black banner with white +cross. To the right and to the left, halberdiers bearing torches._ + +JANE. + +Do you see? + +JOSHUA. + +Yes, I see such things every day. + +[_As they are about to reach the stage the procession stops._ + +MASTER ENEAS. + +The man, covered with a black veil, who follows me, is the very high +and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of +Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded +at the London Market-Place, for the crimes of regicide and high +treason. God have mercy on his soul! + +THE TWO STANDARD-BEARERS. + +Pray for him! + +[_The procession slowly crosses the back of the stage._ + +JANE. + +This is a terrible thing we are looking at, Joshua. It freezes my +blood. + +JOSHUA. + +That abominable Fabiani! + +JANE. + +Peace, Joshua! Very abominable, but very unfortunate. + +[_The procession reaches the other staircase: Simon Renard, who +appeared at the entrance of this staircase, some moments before, and +has observed everything, moves aside to let them pass. The procession +goes under the arch of the staircase, and gradually disappears. +Jane, terrified, follows it with her eyes._ + +SIMON RENARD (_after the procession has disappeared_). + +What does this mean? Is that really Fabiani? I thought him not so +tall. Has Master Eneas?--It seems to me the Queen kept him near her +for a moment. Let us see! + +[_He disappears under the staircase, following the procession._ + +VOICE (_which grows fainter and fainter_). + +The man, covered with a black veil, who follows me, is the very high +and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of +Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded +at the London Market-Place, for the crimes of regicide and high +treason. + +OTHER VOICES (_almost indistinct_). + +Pray for him! + +JOSHUA. + +The great bell will announce his exit from the Tower, presently. +Perhaps you can make your escape now: I must try to find a way. Wait +for me here: I will come back. + +JANE. + +Are you going to leave me, Joshua? I will be afraid here, all alone. + +JOSHUA. + +It will be dangerous for you to wander over the Tower with me. I must +get you away from here. Remember Gilbert is waiting for you. + +JANE. + +Gilbert? Everything for Gilbert. Go! + +[_Joshua goes out._ + +Oh, what a terrible sight!--when I think that it might have been like +this for Gilbert. + +[_She kneels on one of the altar steps._ + +Oh, thank you! You are indeed God the Saviour. You have saved +Gilbert. + +[_The cloth at the back opens. The Queen appears: she comes slowly +to the front of the stage, without seeing Jane, who turns around._ + +The Queen! My God! + + +SCENE II + +_Jane, The Queen. Jane clings to the altar, with horror, and fixes +a look of stupor and terror on The Queen's face_ + +THE QUEEN (_she stands a few seconds at the front of the stage, her +glance fixed, pale, as if absorbed in gloomy thoughts. At last she +sighs profoundly_). + +Oh, the people! + +[_She looks around with anxiety and sees Jane._ + +Some one is here. Oh, it is you, young woman! It is you, Lady Jane. I +frighten you. Don't be afraid. You know the turnkey Eneas betrayed +us. Don't be afraid. I have already told you, child, you have nothing +to fear from me. What was your ruin a month ago is your salvation +to-day. You love Fabiano. There are only you and I in the whole world +to-day who have a heart like that. Only you and I love him. We are +sisters. + +JANE. + +Madame-- + +THE QUEEN. + +Yes, you and I--two women, we are all he has! Every one else is +against him; a whole city, a whole nation, a whole world. Unequal +struggle of love against hate. Love for Fabiano is a sad thing, a +fatal, a horror-stricken thing: it has a pallid brow like yours, +tear-filled eyes like mine; it hides itself close to a funereal +altar; it entreats with your lips, it curses with mine. But hate for +Fabiano is a proud thing, radiant, triumphant: it is well-armed and +victorious; it has the Court, the people, the crowded streets; it +munches cries of death and cries of joy at the same time; it is +magnificent, haughty, powerful; it illuminates a whole city +surrounding a scaffold. Love, here it is--two women weeping in a +tomb! Hate, there it is! + +[_She pulls the white cloth violently aside, which reveals a balcony, +and beyond the balcony, almost out of sight, the whole city of +London, brilliantly illuminated. What is visible of the Tower of +London is also illuminated. Jane fixes her amazed eyes on this +startling scene, the reflection of which lights up the theater._ + +THE QUEEN. + +Oh, infamous city; rebellious city; accursed city; monstrous +city--who soaks her holiday dress in blood, and who holds the torch +for the executioner! You are afraid of it, aren't you, Jane? Doesn't +it seem to you, as it does to me, that it cowardly defies us both; +that it is watching us with its hundred thousand flaming eyes--us, +feeble, forsaken women that we are, alone and lost in this sepulcher? +Jane, do you hear it howl and laugh--that horrible city? Oh, England, +all England to him who will destroy London! Would that I could change +those torches into fiery brands, those lights into flames, and that +illuminated city into a city of _fire_! + +[_A tremendous outburst from the people outside--applause, confused +cries, "There he is! There he is! Death to Fabiani--" The great +bell of the Tower begins to toll. At this sound, The Queen breaks +into a terrible peal of laughter._ + +JANE. + +God! The unfortunate man is leaving the Tower!--You laugh, madame! + +THE QUEEN. + +Yes, I laugh! [_She laughs._] Yes, and you will laugh, too. Let me +drop those hangings first. It seems to me all the time as if we were +not alone, as if that frightful city could see and hear us. + +[_She drops the white curtain and comes back to Jane._ + +Now that he is gone, now that there is no more danger, I can tell you +about it. Laugh, laugh, let us both laugh at those execrable people +who drink blood! Oh, it is grand, Jane! Jane, you tremble for +Fabiano? Be at ease, laugh with me, I tell you. Jane, the man they've +got, the man who is going to die, the man they think is Fabiano--is +not Fabiano. + +[_She laughs._] + +JANE. + +Not Fabiano? + +THE QUEEN. + +No! + +JANE. + +Then who is it? + +THE QUEEN. + +The other! + +JANE. + +What other? + +THE QUEEN. + +You know well enough! You know him--that workman--that man. Besides, +what does it matter? + +JANE (_trembling with terror_). + +Gilbert? + +THE QUEEN. + +Yes, Gilbert! That is the name. + +JANE. + +Madame! Oh, no, madame! Don't say that, madame! Gilbert--it would be +too horrible! He has escaped! + +THE QUEEN. + +He was escaping when they seized him. They put him under the black +veil in Fabiano's place. It is night. The people won't know. Rest +easy. + +JANE (_with a frightful cry_). + +Ah, madame! But the man I love--it is Gilbert! + +THE QUEEN. + +What? What do you say? Are you going crazy? Did you deceive me, too? +Ah, it is Gilbert whom you love! Well, what does that matter to me? + +JANE (_at The Queen's feet, broken-hearted, sobbing, dragging +herself on her knees, her hands clasped: the great bell tolls through +all this scene_). + +Madame--just for pity! Madame, in the name of Heaven! Madame, by your +crown, by your mother, by the angels! Gilbert, Gilbert--it will make +me mad! Madame, save Gilbert! That man, he is my life; that man, he +is my husband; that man-- I have told you that he did everything for +me, that he brought me up, that he adopted me, that beside my cradle +he took the place of my father, who died for your father. Madame, you +see that I am a poor, wretched creature, and it isn't right to be too +hard on me. What you said to me just now struck such a terrible blow +that I don't truly see how it is I have strength to speak to you. I +am just saying what I can, you see. But you must stop the +execution--right away! Stop the execution! Put it off until +to-morrow. Just time to have things understood, that is all. The +people can wait until to-morrow, I know. We will see what we can do. +No! don't shake your head! There is no danger for your Fabiano. You +can put me in his place--under the black veil--at night. Who will +know? But you must save Gilbert. What difference does it make whether +it be he or I? And since--since I want to die! Oh, my God, that bell, +that frightful bell! Every knell of that bell is a step toward the +scaffold. Every knell of that bell strikes me full in the heart. Do +it, madame. Be merciful! No danger for your Fabiano! Let me kiss your +hands. I love you, madame. I never said it before--but I love you +dearly. You are a great queen. See, how I kiss your beautiful hands! +Give an order to stop the execution. There is time yet. I am sure we +can do it. They go so slowly. It is a long way from the Tower to the +old Market-Place. The man on the balcony said they would pass through +Charing Cross. There is a quicker way. A man on horseback could get +there. In Heaven's name, madame, be merciful! Try to put yourself in +my place. Imagine that I am Queen and you the poor young woman; and +you would weep as I do, and I would pardon. Pardon! Pardon! Oh, that +is what I was afraid of, that my tears would hinder me from speaking! +Oh, right away!--stop the execution! There won't be any trouble, +madame; no danger for Fabiano, I swear it to you. Don't you really +think you ought to do what I say, madame? + +THE QUEEN (_touched and lifting her up_). + +I wish I could, poor girl. Ah, yes, you are weeping as I wept; what +you feel I have just felt myself, and my anguish makes me understand +yours. Look! I am weeping too. It is very sad, my poor child. It +seems to me, too, they might have taken somebody else--Tyrconnel, for +instance. But he is too well known: they had to have some obscure +man. He was the only one they could get hold of. I explain all this +so that you can understand, don't you see? My God, there are +fatalities like that: we get caught. We can't do anything. + +JANE. + +I am listening to you, madame. I am like you. I have got many things +to say. But I would like to have the order to suspend the execution +signed, and the man sent off. You see it would be finished then. We +could talk better afterward. Oh, that bell! forever, that bell! + +THE QUEEN. + +What you want is impossible, Lady Jane. + +JANE. + +Oh, no, it is possible!--a man on horseback. There is a very short +way--by the wharf. I can go--I-- It is quite possible! It is easy! You +see I talk very quietly. + +THE QUEEN. + +But the people won't have it. They will come back here and massacre +everybody in the Tower. And Fabiano is here yet. Can't you +understand? You are trembling, poor child. I am like you--I tremble +also. In your turn, put yourself in my place. I might easily not take +the trouble to explain all this to you. You see I do what I can. +Don't think about this Gilbert any more. Jane, it is over-- Resign +yourself. + +JANE. + +Over! No, it is not over! No--as long as that horrible bell tolls, it +is not over! Resign myself to Gilbert's death? Do you think I am +going to let Gilbert die like that? No, madame! Ah, I am wasting my +time! Ah, you won't listen to me! Very well, if the Queen won't hear +me, the people will. They are good, the people--if you but knew it! +They are in the court yet. You can do what you like with me +afterward. I am going to tell them they are cheated; and that it is +not Fabiani, it's a poor workman, named Gilbert--a workman like +themselves! + +THE QUEEN. + +Stop, you wretched child! + +[_She seizes her arm and looks at her fixedly and resentfully._ + +This is the way you thank me, is it? I am patient and gentle with +you, I weep with you--and all at once, you get wild and furious! +Well, my love is just as great as yours, and my hand is more +powerful! You shall not stir! Your lover!--what do I care for your +lover? Are all the girls in England coming to ask me about their +lovers, now? By my soul, I save my own as well as I can, and at the +cost of everything which stands in his way. You must look after +yours. + +JANE. + +Let me go! Oh, I curse you, you wretched, wicked woman! + +THE QUEEN. + +Hush! + +JANE. + +I will not hush! Do you want me to tell you what I'm thinking of now? +I don't believe the man who is going to die out there is my Gilbert. + +THE QUEEN. + +What are you saying? + +JANE. + +I don't know, but I saw him pass by under that black veil; and if it +had been my Gilbert, something would have stirred in me, something +would have roused itself in my heart, and would have cried out to me, +"Gilbert--it is Gilbert." But I felt nothing at all; it is not +Gilbert. + +THE QUEEN. + +What are you saying? Ah, my God! you are crazy. What you have said is +idiotic, but it terrifies me just the same. Ah, you have roused one +of the secret terrors of my own heart! Why did that riot prevent me +from looking after him myself? Why did I intrust to any one but +myself the safety of my Fabiano? Eneas Dulverton is a traitor. +Perhaps Simon Renard was there. What if I have been betrayed a second +time by Fabiano's enemies? What if it is Fabiano himself? What, ho! +quick--some one--come--some one! + +[_Two Jailers appear._ + +[_To the first._] You--run! Here is my royal signet. Tell them to +suspend the execution. To the old Market-Place; to the old +Market-Place! There is a shorter way, you said, Jane. + +JANE. + +By the wharf. + +THE QUEEN (_to Jailer_). + +By the wharf. A horse--go quick! + +[_The Jailer goes out._ + +[_To the second Jailer._] You--go at once to Edward the Confessor's +Tower. The two cells of the condemned criminals are there. There is a +man in one of them. Bring him here at once. + +[_The Jailer goes out._ + +I tremble; my knees sink under me; I have not strength enough to go +myself. Ah, you have made me as mad as yourself! Miserable girl, you +have made me as wretched as yourself. I curse you as you cursed me. +My God, will the man get there in time? What a torturing anxiety! I +can't see anything more. All is trouble in my soul. Does the bell +toll yet? Is it for Gilbert? Is it for Fabiano? + +JANE. + +The bell ceases. + +THE QUEEN. + +Then the procession is on the place for the execution. Will the man +get there in time? + +[_A cannon-shot is heard._ + +JANE. + +Heaven! + +THE QUEEN. + +He is ascending the scaffold! [_Second cannon._ He is kneeling! + +JANE. + +It is horrible! [_Third cannon._ + +BOTH. + +Ah! + +THE QUEEN. + +There is only one alive now. In a moment we will know which one. My +God, let the man who comes in be Fabiano! + +JANE. + +My God, let it be Gilbert! + +[_The curtain at the back opens. Simon Renard appears, holding +Gilbert by the hand._ + +Gilbert! [_They rush into each other's arms._ + +THE QUEEN. + +And Fabiano? + +SIMON RENARD. + +Dead. + +THE QUEEN. + +Dead! Dead! Who has dared-- + +SIMON RENARD. + +I have dared. I have saved the Queen of England. + + + + +MARION DE LORME + + + + +DRAMATIS PERSONAE + + Marion de Lorme. + Didier. + Louis XIII. + Marquis de Saverny. + Marquis de Nangis. + L'Angely. + M. de Laffemas. + Duke de Bellegarde. + Marquis de Brichanteau, } + Count de Gasse, } _Officers_ + Viscount de Bouchavannes, } _of the_ + Chevalier de Rochebaron, } _Regiment of_ + Count de Villac, } _Anjou._ + Chevalier de Montpesat, } + Duke de Beaupreau. + Viscount de Rohan. + Abbe de Gondi. + Count de Charnace. + Scaramouche, } + Gracieux, } _Provincial comedians._ + Taillebras, } + Councilor of the Great Chamber. + Town Crier. + Captain. + A Jailer. + A Registrar. + The Executioner. + First Workman. + Second Workman. + Third Workman. + A Lackey. + Dame Rose. + _Provincial Comedians, Guards, Populace, Nobles, Pages._ + +1638. + + + + +MARION DE LORME + + + + +_ACT I_ + +THE MEETING + +Scene.--_Blois. A bed-chamber. A window opening on a balcony at the +back. To the right, a table with a lamp, and an armchair. To the left a +door, covered by a portiere of tapestry. In the background a bed_ + + +SCENE I + +_Marion de Lorme, in a very elegant wrapper, sitting beside the table, +embroidering. Marquis de Saverny, very young man, blonde, without +mustache, dressed in the latest fashion of 1638_ + +SAVERNY (_approaching Marion and trying to embrace her_). + +Let us be reconciled, my sweet Marie! + +MARION (_pushing him away_). + +Not such close reconciliation, please! + +SAVERNY (_insisting_). + +Just one kiss! + +MARION (_angrily_). + + Marquis! + +SAVERNY. + + What a rage! Your mouth +Had sweeter manners, not so long ago! + +MARION. + +Ah, you forget! + +SAVERNY. + + No, I remember, dear. + +MARION (_aside_). + +The bore! the tiresome creature! + +SAVERNY. + + Speak, fair one! +What does this swift, unkind departure mean? +While all are seeking you at Place Royale, +Why do you hide yourself at Blois? Traitress, +What have you done here all these two long months? + +MARION. + +I do what pleases me, and what I wish +Is right. I'm free, my lord! + +SAVERNY. + + Free! Yes. But those +Whose hearts you've stolen, are they also free? +I? Gondi, who omitted half his Mass +The other day, because he had a duel +Upon his hands for you? Nesmond, D'Arquien, +The two Caussades, Pressigny, whom your flight +Has left so wretched, so morose, even +Their wives wish you were back in Paris, that +They might have gayer husbands! + +MARION (_smiling_). + + Beauvillain? + +SAVERNY. + +Is still in love. + +MARION. + + Cereste? + +SAVERNY. + + Adores you yet. + +MARION. + +And Pons? + +SAVERNY. + + Oh, as for him, he hates you! + +MARION. + + Proof +He is the only one who loves me! Well, +The President? +[_Laughing._] The old man! What's his name? + [_Laughing more heartily._ +Leloup! + +SAVERNY. + + He's waiting for you, and meanwhile +He keeps your portrait and sings odes to it. + +MARION. + +He's loved me two years now, in effigy. + +SAVERNY. + +He'd much prefer to burn you. Tell me how +You keep away from such dear friends. + +MARION (_serious, and lowering her eyes_). + + That's just +The reason, Marquis; to be frank with you, +Those brilliant follies which seduced my youth +Have given me much more misery than joy. +In a retreat, a convent cell, perhaps, +I want to try to expiate my life. + +SAVERNY. + +I'll wager there's a love-tale behind that. + +MARION. + +You dare to think-- + +SAVERNY. + + That never a nun's veil +Surmounted eyes so full of earthly fire. +It could not be. You love some poor provincial! +For shame! To end a fine romance with such +A page! + +MARION. + + It isn't true! + +SAVERNY. + + Let's make a wager! + +MARION. + +Dame Rose, what time is it? + +DAME ROSE (_outside_). + + Almost midnight! + +MARION (_aside_). + +Midnight! + +SAVERNY. + + That is a most ingenious way +Of saying, "Time to go." + +MARION. + + I live retired, +Receiving no one, and unknown to all. +Besides, 'tis dangerous to be out late: +The street is lonely, full of robbers. + +SAVERNY. + + Well, +They can rob me. + +MARION. + + And oftentimes they kill! + +SAVERNY. + +Good! they can kill me. + +MARION. + + But-- + +SAVERNY. + + You are divine! +But I'll not stir one foot before I know +Who this gay shepherd is, who's routed us! + +MARION. + +There's no one! + +SAVERNY. + + I will be discreet. We courtiers, +Whom people think so mad, so curious +And spiteful, are maligned. We gossip, but +We never talk! You're silent? + [_Sits down._] Then I'll stay! + +MARION. + +What does it matter? Well, it's true! I love! +I'm waiting for him! + +SAVERNY. + + That's the way to talk! +That's right! Where is it you expect him? + +MARION. + + Here! + +SAVERNY. + +When? + +MARION. + + Now! [_She goes to the balcony and listens._ + Hark! that is he perhaps. + [_Coming back._] 'Tis not. +Now are you satisfied? + +SAVERNY. + + Not quite! + +MARION. + + Please go! + +SAVERNY. + +I want to know his name, this proud gallant, +For whose reception I am thus dismissed. + +MARION. + +Didier is all the name I know for him. +Marie is all the name he knows for me. + +SAVERNY (_laughing_). + +Is't true? + +MARION. + + Yes, true! + +SAVERNY. + + This is a pastoral, +And no mistake. 'Tis Racan, pure! To enter, +I have no doubt he scales the wall. + +MARION. + + Perhaps. +Please go! [_Aside._] He wearies me to death! + +SAVERNY (_becoming serious_). + + Of course +He's noble. + +MARION. + + I don't know. + +SAVERNY. + + What? + +[_To Marion, who is gently pushing him toward the door._ + + I am going! [_Coming back._ +Just one word more! I had forgotten. Look! + +[_He draws a book out of his pocket and gives it to Marion._ + +An author who is not a fool, did this. +It's making a great stir. + +MARION (_reading the title_). + + "Love's Garland"--ah! +"To Marion de Lorme." + +SAVERNY. + + They talk of nothing +But this in Paris. That book and "The Cid" +Are the successful efforts of the day. + +MARION (_taking the book_). + +It's very civil of you; now, good-night! + +SAVERNY. + +What is the use of fame? Alack-a-day! +To come to Blois and love a rustic! Bah! + +MARION (_calling to Dame Rose_). + +Take care of the Marquis, and show him out! + +SAVERNY (_saluting her_). + +Ah, Marion, you've degenerated! [_He goes out._ + + +SCENE II + +_Marion, afterward Didier_ + +MARION (_alone, shuts the door by which Saverny +went out_). + + Go-- +Go quickly! Oh, I feared lest Didier-- + [_Midnight strikes._ + Hark! +It's striking midnight! Didier should be here! + +[_She goes to the balcony and looks into the street._ + +No one! + +[_She comes back and sits down impatiently._ + + Late! To be late--so soon! + +[_A young man appears behind the balustrade of the balcony, jumps over +it lightly, enters, places his cloak and sword on the armchair. Costume +of the day: all black: boots. He takes one step forward, pauses_ _and +contemplates Marion, sitting with her eyes cast down._ + + At last! + [_Reproachfully._ +To let me count the hour alone! + +DIDIER (_seriously_). + + I feared +To enter! + +MARION (_hurt_). + + Ah! + +DIDIER (_without noticing it_). + + Down there, outside the wall, +I was o'ercome with pity. Pity? yes, +For you! I, poor, accursed, unfortunate, +Stood there a long time thinking, ere I came! +"Up there an angel waits," I thought, "in virgin grace, +Untouched by sin--a being chaste and fair, +To whose sweet face shining on life's pathway +Each passer-by should bend his knees and pray. +I, who am but a vagrant 'mongst the crowd, +Why should I seek to stir that placid stream? +Why should I pluck that lily? With the breath +Of human passion, why should I consent +To cloud the azure of that radiant soul? +Since in her loyalty she trusts to me, +Since virtue shields her with its sanctity, +Have I a right to take her gift of love, +To bring my storms into her perfect day?" + +MARION (_aside_). + +This is theology, it seems to me! +I wonder if he is a Huguenot? + +DIDIER. + +But when your tender voice fell on my ear, +I wrestled with my doubts no more--I came. + +MARION. + +Oh, then you heard me speaking--that is strange! + +DIDIER. + +Yes; with another person. + +MARION (_quickly_). + + With Dame Rose! +She talks just like a man, don't you think so? +Such a strong voice! Ah, well, since you are here +I am no longer angry! Come, sit down. + [_Indicating a place at her side._ +Sit here! + +DIDIER. + + No! at your feet. + +[_He sits on a stool at Marion's feet and looks at her for some +moments in complete silence._ + + Hear me, Marie! +I have no name but Didier--never knew +My father nor my mother. I was left, +A baby, on the threshold of a church. +A woman, old, belonging to the people, +Preserved me, was my mother and my nurse. +She brought me up a Christian, then she died +And left me all she had--nine hundred francs +A year, on which I live. To be alone +At twenty is a sad and bitter thing! +I traveled--saw mankind: I learned to hate +A few and to despise the rest. For on +This tarnished mirror we call human life, +I saw nothing but pride and misery +And pain; so that, although I'm young, I'm old, +And am as weary of the world as are +The men who leave it. Never touched a thing +That did not tear and lacerate my soul! +Although the world was bad, I found men worse. +Thus I have lived; alone and poor and sad, +Until you came, and you have set things right. +I hardly know you. At the corner of +A Paris street you first appeared to me. +Then afterward I met you, and I thought +Your eyes were sweet, your speech was beautiful! +I was afraid of loving you, and fled! +But destiny is strange: I found you here, +I find you everywhere, as if you were +My guardian angel. So at last, my love +Grew powerful, resistless, and I felt +I must talk with you. You were willing. Now +They're at your service, both my heart and life. +I will do anything that you wish done. +If there is any man or anything +That troubles you, or you have any whim +And somebody must die to satisfy it-- +Must die, and make no sign--and feel 'twas worth +Death any time to see you smile; if you +Need such a man, speak, lady: I am here! + +MARION (_smiling_). + +You've a strange nature, but I love you so! + +DIDIER. + +You love me! Ah, take care! One dare not say +Such words in any careless way! Love me? +Oh, do you know what loving means? What 'tis +To feel love take possession of our blood, +Become our daily breath? To feel this thing +Which long has smoldered burst to flame, and rise +A great, majestic, purifying fire? +To feel it burn up clean within our hearts +The refuse other passions have left there? +This love, hopeless indeed, but limitless, +Which outlives all things, even happiness-- +Is this the kind of love you mean? + +MARION (_touched_). + + Indeed! + +DIDIER. + +You do not know it, but I love you so! +From that first time I saw you, my dark life +Was shot with sunlight streaming from your eyes; +Since then all's different. To me you seem +Some wonderful creation, not of earth. +My life, in whose dark gloom I groaned so long, +Grows almost beautiful when you are by. +For 'til you came, I'd wandered, suffered, wept; +I'd struggled, fallen--but I had not loved. + +MARION. + +Poor Didier! + +DIDIER. + + Speak, Marie! + +MARION. + + Well, then, I do. +I love with just this love--love you as much +And maybe more than you love me! It was +Not destiny that brought me here. 'Twas I +Who came, who followed you, and I am yours! + +DIDIER (_falling on his knees_). + +Oh, do not cheat me! Give me truth, Marie! +If to my ardent love your love responds, +The world holds no possession rich as mine! +My whole life, kneeling at your feet, will be +One sigh of speechless, blinding ecstasy. +But do not cheat me! + +MARION. + + Do you want a proof +Of love, my Didier? + +DIDIER. + + Yes! + +MARION. + + Then speak! + +DIDIER. + + You are-- +Quite free? + +MARION (_embarrassed_). + + Free? Yes! + +DIDIER. + + Then take me for a brother, +For a protector--be my wife? + +MARION (_aside_). + + His wife! +Ah, why am I not worthy? + +DIDIER. + + You consent? + +MARION. + +I--can-- + +DIDIER. + + Don't say it, please--I understand! +An orphan, without fortune! What a fool! +Give back my pain, my gloom, my solitude! +Farewell! + +[_He starts to go; Marion holds him back._ + +MARION. + + Didier, what are you saying? + [_She bursts into tears._ + +DIDIER. + + True! +But why this hesitation? [_Going back to her._ + Can't you feel +The ecstasy of being, each to each, a world, +A country, heaven; in some deserted spot +To hide a happiness kings could not buy. + +MARION. + +It would be heaven! + +DIDIER. + + Will you have it? Come! + +MARION. + +[_Aside._] Accursed woman! [_Aloud._] No, it cannot be. + +[_She tears herself from out his arms, and falls on the armchair._ + +DIDIER (_freezingly_). + +The offer was not generous, I know. +You've answered me. I'll speak of it no more! +Good-by! + +MARION. (_aside_). + +Alack, the day I pleased him! [_Aloud._] Stay! +I'll tell you. You have hurt me to the soul. +I will explain-- + +DIDIER (_coldly_). + + What were you reading, madame, +When I came? + +[_Takes the book from the table and reads._ + + "To Marion de Lorme. +Love's Garland!" Yes, the beauty of the day! + +[_Throwing the book violently to the floor._ + +Vile creature! a dishonor to her sex! + +MARION. (_trembling_). + +But--she-- + +DIDIER. + + What are you doing with such books? +How came they here? + +MARION. (_inaudibly, and looking down_). + + They came by chance. + +DIDIER. + + Do you-- +You who have eyes so pure, a brow so chaste-- +Do you know what she is--this woman? Well, +She's beautiful in body, and deformed +In soul! A Phryne, selling everywhere, +To every man, her love, which is an insult, +An infamy! + +MARION (_her head in her hands_). + + My God! + +[_A noise of footsteps, a clashing of swords outside, and cries._ + +VOICE IN THE STREET. + + Help! Murder! Help! + +DIDIER (_surprised_). + +What noise is that out there upon the square? + [_Cries continue._ + +VOICE IN THE STREET. + +Help! Murder! Help! + +DIDIER (_looking from the balcony_). + + They're killing some one! Ha! + +[_He takes his sword and step's over the balustrade. Marion rises, +runs to him and tries to hold him back by his cloak._ + +MARION. + +Don't, Didier, if you love me! They'll kill you! +Don't go! + +DIDIER (_jumping down into the street_). + + He is the one they're going to kill! +Poor man! [_Outside, to combatants._ + + Stand off! Hold firmly, sir, and push! + [_Clashing of swords._ +There, wretch! + +[_Noise of swords, voices, and footsteps._ + +MARION. (_on the balcony, terrified_). + + Just Heaven! They are six 'gainst two! + +VOICE IN THE STREET. + +This man--he is the devil! + +[_The clashing of swords subsides little by little, then entirely +ceases. The sounds of footsteps become indistinct. Didier reappears +scaling the balcony._ + +DIDIER (_outside of the balcony and turned toward +the street_). + + You are safe; +Now go your way! + +SAVERNY (_from outside_). + + Not 'til I've grasped your hand-- +Not 'til I've thanked you, if you please! + +DIDIER. + + Pass on! +I will consider myself thanked. + +SAVERNY. + + Not so! +I mean to thank you. [_Scaling balcony._ + +DIDIER. + + Can't you speak from there +And say "I thank you" without coming up? + + +SCENE III + +Marion, Didier, Saverny + +SAVERNY (_jumping into the room, sword in hand_). + +Upon my soul! 'Tis a strange chivalry +To save my life and push me from the door! +The door--that is to say, the window! No, +They shall not say one of my family +Was bravely rescued by a nobleman +And did not in return say "Marquis--" Pray, +What is your name? + +DIDIER. + + Didier. + +SAVERNY. + + Didier--of what? + +DIDIER. + +Didier, of nothing! People kill you, and +I help you--that is all! Now go! + +SAVERNY. + + Indeed! +That's your way, is it? Why not have let +Those traitors kill me? 'Twould have pleased me more. +For without you I'd be a dead man now. +Six thieves against me! Dead! Of course! What else? +Six daggers against one thin sword-- + +[_Perceiving Marion, who has been trying to avoid him._ + + Oh, ho! +You're not alone! At last I understand! +I'm robbing you of pleasure. Pardon me! +[_Aside._] I'd like to see the lady! + +[_Approaches Marion, who is trembling: he recognizes her._ + + It is you! + [_Indicating Didier._ +Then he's the one! + +MARION (_low_). + + Hush! You will ruin all! + +SAVERNY (_bowing_). + +Madame! + +MARION (_low_). + + I love for the first time! + +DIDIER (_aside_). + + 'Sdeath! +That man is looking at her with bold eyes. + +[_He overturns the lamp with a blow._ + +SAVERNY. + +You put the lamp out, sir? + +DIDIER. + + It would be wise +For us to leave together, and at once. + +SAVERNY. + +So be it, then! I follow you! + +[_To Marion, whom he salutes profoundly._ + + Madame, +Farewell! + +DIDIER (_aside_). + + What a rare coxcomb! +[_Aloud to Saverny._] Come, sir, come! + +SAVERNY. + +You're brusk, but I'm in debt to you for life. +If ever you should need fraternal friendship, +Count upon me, Marquis de Saverny, +Paris, Hotel de Nesle. + +DIDIER. + + Enough, sir! Come! +[_Aside._] To see her thus examined by a fool! + +[_They go out by the balcony. The voice of Didier is heard outside._ + +Your road lies that way. Mine lies here! + + +SCENE IV + +Marion, Dame Rose + +MARION (_remains absorbed a moment, then calls_). + + Dame Rose! + +[_Dame Rose appears. Marion points to the window._ + +Go shut it! + +[_Dame Rose, having shut the window, turns and sees Marion wiping +away a tear._ + +DAME ROSE (_aside_). + + She is weeping! + [_Aloud._] It is time +To sleep, madame! + +MARION. + + Yes, time for you--you people. [_Undoing her hair._ +Come, help me to undress! + +DAME ROSE (_helping her to undress_). + + The gentleman +To-night was pleasant. Is he rich? + +MARION. + + Not rich. + +DAME ROSE. + +But gallant. + +MARION. + + No, nor gallant. [_Turning to Dame Rose._ + He did not +So much as kiss my hand! + +DAME ROSE. + + What use is he? + +MARION (_pensive_). + +I love him! + + + +[Illustration: MARION DE LORME.] + + + + +_ACT II_ + +THE ENCOUNTER + +Scene.--_Blois. The door of a public-house. A square. In the +background the city of Blois is visible in the form of an amphitheater, +also the towers of St. Nicholas upon the hill, which is covered with +houses_ + + +SCENE I + +Count de Gasse, Marquis de Brichanteau, Viscount de Bouchavannes, +Chevalier de Rochebaron. _They are seated at tables in front of the +door: some are smoking, the others are throwing dice and drinking. +Afterward Chevalier de Montpesat, Count de Villac; afterward +L'Angely; afterward The Town-Crier and The Populace_ + +BRICHANTEAU (_rising, to Gasse, who enters_). + + Gasse! [_They shake hands._ + You are come to join +The regiment at Blois: our compliments +Upon your burial. [_Examining his clothes._ + Ah! + +Gasse. + + It is the style-- +This orange with blue ribbons. + +[_Folding his arms and curling his mustache._ + + You must know +That Blois is forty miles from Paris! + +BRICHANTEAU. + + Yes, +It's China! + +GASSE. + + That makes womankind rebel: +To follow us they must exile themselves. + +BOUCHAVANNES (_turning from the game_). + +You come from Paris? + +ROCHEBARON (_taking out his pipe_). + + Is there any news? + +GASSE (_bowing_). + +No, nothing. Corneille still upsets all heads. +Guiche has obtained the order; Ast is duke. +Of trifles, plenty--thirty Huguenots +Were hung; a quantity of duels. On +The third, D'Angennes fought Arquien on account +Of wearing point of Genoa; the tenth, +Lavardie had a rendezvous with Pons, +Because he'd taken Sourdis' wife from him. +Sourdis and D'Ailly met about a creature +In the theater Mondori. On the ninth, +Lachatre fought with Nogent because he wrote +Three rhymes of Colletet's badly; Margaillan +With Gorde, about the time of day; D'Humiere +With Gondi on the way to walk in church; +And all the Brissacs 'gainst all the Soubises +For some bet on a horse against a dog. +Then Caussade and Latournelle fought for nothing-- +Merely for fun: Caussade killed Latournelle. + +BRICHANTEAU. + +Gay Paris! Duels have begun again. + +GASSE. + +It is the fashion! + +BRICHANTEAU. + + Feasts and love and fighting! +There is the only place to live! + [_Yawning._] All one +Can do here is to die of weariness. +[_To Gasse._] You say Caussade killed Latournelle? + +GASSE. + + He did, +With a good gash! [_Examining Rochebaron's sleeves._ + What's that you wear, my friend? +Those trimmings are not fashionable now. +What! cords and buttons? Nothing could be worse. +You must have bows and ribbons. + +BRICHANTEAU. + + Pray repeat +The list of duels. How about the King? +What does he say? + +GASSE. + + The Cardinal's enraged +And means to stop it. + +BOUCHAVANNES. + + Any news from camp? + +GASSE. + +I think we captured Figuere by surprise-- +Or else we lost it. + [_Reflecting._] Yes, that's it. 'Tis lost! +They took it from us. + +ROCHEBARON. + + Ah! What said the King? + +GASSE. + +The Cardinal is most dissatisfied. + +BRICHANTEAU. + +How is the Court? I hope the King is well. + +GASSE. + +Alas! the Cardinal has fever and +The gout, and goes out only in a litter. + +BRICHANTEAU. + +Queer! We talk King, you answer Cardinal! + +GASSE. + +It is the fashion! + +BOUCHAVANNES. + + So there's nothing new! + +GASSE. + +Did I say so? There's been a miracle, +A prodigy, which has amazed all Paris +For two months past; the flight, the disappearance-- + +BRICHANTEAU. + +Go on! Of whom? + +GASSE. + + Of Marion de Lorme, +The fairest of the fair! + +BRICHANTEAU (_with an air of mystery_). + + Here's news for you. +She's here! + +GASSE. + + At Blois? + +BRICHANTEAU. + + Incognito! + +GASSE. + + What! she? +In this place? Oh, you must be jesting, sir! +Fair Marion, who sets the fashions! Bah! +This Blois is the antipodes of Paris. +Observe! How ugly, old, ungainly, 'tis! +Even those towers-- + [_Indicating the towers of St. Nicholas._ + Uncouth and countrified! + +ROCHEBARON. + +That's true. + +BRICHANTEAU. + + Won't you believe Saverny when +He says he saw her, hidden somewhere with +A lover, and this lover saved his life +When thieves attacked him in the street at night?-- +Good thieves, who took his purse for charity, +And just desired his watch to know the time. + +GASSE. + +You tell me wonders! + +ROCHEBARON (_to Brichanteau_). + + Are you sure of it? + +BRICHANTEAU. + +As sure as that I have six silver bezants +Upon a field of azure. Saverny +Has no desire, at present, but to find +This man. + +BOUCHAVANNES. + + He ought to find him at her house. + +BRICHANTEAU. + +She's changed her name and lodging, and all trace +Of her is lost. + +[_Marion and Didier cross the back of the stage slowly without +being noticed by the talkers; they enter a small door in one of the +houses on the side._ + +GASSE. + + To have to come to Blois +To find our Marion, a provincial! + +[_Enter Count de Villac and Chevalier de Montpesat, disputing +loudly._ + +VILLAC. + + No! +I tell you no! + +MONTPESAT. + + And I--I tell you, yes! + +VILLAC. + +Corneille is bad! + +MONTPESAT. + + To treat Corneille like that-- +The author of "The Cid" and of "Melite." + +VILLAC. + +"Melite"? Well, I will grant you that is good; +But he degenerated after that, +As they all do. I'll do the best I can +To satisfy you: talk about "Melite," +"The Gallery of the Palace," but "The Cid!" +What is it, pray? + +GASSE (_to Montpesat_). + + You are conservative. + +MONTPESAT. + +"The Cid" is good! + +VILLAC. + + I tell you it is bad! +Your "Cid"--why Scudery can crush it with +A touch! Look at the style! It deals with things +Extraordinary; has a vulgar tone; +Describes things plainly by their common names; +Besides, it is obscene, against the law! +"The Cid" has not the right to wed Chimene! +Now have you read Pyramus, Bradamante? +When Corneille writes such tragedies, I'll read! + +ROCHEBARON (_to Montpesat_). + +"The Great and Last Soliman" of Mairet, +You must read that: that is fine tragedy! +But for your "Cid." + +VILLAC. + + What self-conceit he has! +Does he not think he equals Boisrobert, +Mairet, Gombault, Serisay, Chapelain, +Bautru, Desmarets, Malleville, Faret, +Cherisy, Gomberville, Colletet, Giry, +Duryer--indeed, all the Academy? + +BRICHANTEAU (_laughing compassionately and shrugging his shoulders_). + +Good! + +VILLAC. + + Then the gentleman deigns to create! +Create! Faith! after Garnier, Theophile, +And Hardy! Oh, the coxcomb! To create! +An easy thing! As if the famous minds +Had left behind them any unused thing. +On that point Chapelain rebukes him well! + +ROCHEBARON. + +Corneille's a peasant! + +BOUCHAVANNES. + + Yet, Monsieur Godeau, +Bishop of Grasse, says he's a man of wit. + +MONTPESAT. + +Much wit! + +VILLAC. + + If he would write some other way-- +Would follow Aristotle and good style. + +GASSE. + +Come, gentlemen, make peace. One thing is sure, +Corneille is now the fashion: takes the place +Of Garnier, just as in our day felt hats +Have replaced velvet _mortiers_. + +MONTPESAT. + + For Corneille +I am, and for felt hats! + +GASSE (_to Montpesat_). + + You are too rash! +[_To Villac._] Garnier is very fine. I'm neutral; but +Corneille has also his good points. + +VILLAC. + + Agreed! + +ROCHEBARON. + +Agreed! He is a witty fellow and +I like him! + +BRICHANTEAU. + + He has no nobility! + +ROCHEBARON. + +A name so commonplace offends the ear. + +BOUCHAVANNES. + +A family of petty lawyers, who +Have gnawed at ducats 'til they obtained sous. + +[_L'Angely enters, seats himself at a table alone, and in silence. He +is dressed in black velvet with gold trimming._ + +VILLAC. + +Well, if the public like his rhapsodies +The day of tragic-comedy is past. +I swear to you the theater is doomed. +It is because this Richelieu-- + +GASSE (_looking across at L'Angely_). + + Say, _lordship_, +Or else speak lower. + +BRICHANTEAU. + + Hell take this eminence! +Is't not enough to manage everything? +To rule our soldiers, finances, and us, +Without controlling our poor language too? + +BOUCHAVANNES. + +Down with this Richelieu, who flatters, kills: +Man of the red hand and the scarlet robe! + +ROCHEBARON. + +Of what use is the King? + +BRICHANTEAU. + + In darkness, we-- +That is the people--march: eyes on a torch. +He is the torch: the King's the lantern which +In its bright glass protects the flame from wind. + +BOUCHAVANNES. + +Oh, could our swords blow such a wind some day +As to extinguish this devouring fire! + +ROCHEBARON. + +If every one had the same mind as I! + +BRICHANTEAU. + +We would unite-- +[_To Bouchavannes._] What do you think, Viscount? + +BOUCHAVANNES. + +We'd give him one perfidious, useful blow! + +L'ANGELY (_rising, with gloomy tone_). + +Conspiring! Young men! Think of Marillac! + +[_All shudder: turn away, and are silent with terror; all fix their eyes +on L'Angely, who silently resumes his seat._ + +VILLAC (_taking Montpesat aside_). + +My lord, when we were talking of Corneille, +You spoke in tones that irritated me. +In my turn I would like to say two words +To you-- + +MONTPESAT. + + With sword-- + +VILLAC. + + Yes. + +MONTPESAT. + + Or with pistol? + +VILLAC. + + Both! + +MONTPESAT (_taking his arm_). + +Let's go and find some corner in the town. + +L'ANGELY (_rising_). + +A duel, sirs? Remember Boutteville. + +[_New consternation among the young men. Villac and Montpesat +separate, keeping their eyes fixed on L'Angely._ + +ROCHEBARON. + +Who is this man in black who frightens us? + +L'ANGELY. + +I'm L'Angely. I'm jester to the King. + +BRICHANTEAU (_laughing_). + +Then it's no wonder that the King is sad. + +BOUCHAVANNES (_laughing_). + +Great fun he makes, this rabid cardinalist! + +L'ANGELY (_standing_). + +Be careful, gentlemen! This minister +Is mighty. A great mower, he! He makes +Great seas of blood, and then he covers them +With his red cloak and nothing more is said. [_Silence._ + +GASSE. + +Good faith! + +ROCHEBARON. + + I'm blessed if I shall stir! + +BRICHANTEAU. + + Beside +This jester Pluto was a funny man! + +[_A crowd of people enter from the streets and houses, and spread over +the Square. In the center appears The Town-Crier on horseback, with +four Town-servants in livery, one of whom blows the trumpet, while the +other beats the drum._ + +GASSE. + +What are these people doing? Ah, the crier! +Well, paternosters are in order now! + +BRICHANTEAU (_to a juggler with a monkey on his back, who has joined the +crowd_). + +Which one of you shows off the other, friend? + +MONTPESAT (_to Rochebaron_). + +I hope our packs of cards are still complete. + [_Indicating the four Servants in livery._ +It looks as though these knaves were stolen thence. + +TOWN-CRIER (_in a nasal tone of voice_). + +Peace, citizens! + +BRICHANTEAU (_low to Gasse_). + + He has a wicked look. +His voice wears out his nose more than his mouth! + +TOWN-CRIER. + +"Ordinance: Louis, by the Grace of God--" + +BOUCHAVANNES (_low to Brichanteau_). + +Cloak _fleur-de-lis_ concealing Richelieu! + +L'ANGELY. + +Attention! + +TOWN-CRIER (_continuing_). + + "King of France and of Navarre--" + +BRICHANTEAU (_low to Bouchavannes_). + +A fine name, which no minister e'er hoards. + +TOWN-CRIER (_continuing_). + +"Know all men by these presents, we greet you! + [_He salutes assembly._ +Having considered that all kings desired +And have tried to abolish dueling, +But yet, in spite of edicts signed by them, +The evil has increased in great degree, +We ordain and decree that from this time +All duelists who rob us of our subjects, +Whether but one of them or both survive, +Be brought for punishment unto our court, +And commoner or noble shall be hanged. +In order to give force to this edict +We here renounce our right of pardon for +This crime. It is our gracious pleasure."-- +Signed, Louis; and lower--Richelieu. + [_Indignation among the nobles._ + +BRICHANTEAU. + + What's this? +We are to hang up like Barabbas! + +BOUCHAVANNES. + + We? +Tell me the name of any place which holds +A rope by which to hang a nobleman! + +TOWN-CRIER (_continuing_). + +"We, provost, that all men may know these facts, +Command this edict to be hung up on +The Square." + +[_The two Servants attach a great placard to an iron gallows protruding +from the wall on the right._ + +GASSE. + + 'Tis the edict they ought to hang! +Well done! + +BOUCHAVANNES (_shaking his head_). + + Yes, Count; while waiting for the head +Which shall defy it. + +[_The Town-Crier exits; the crowd retires. Saverny enters. It begins +to grow dark._ + + +SCENE II + +_The same._ Marquis de Saverny + +BRICHANTEAU (_going to Saverny_). + + Cousin Saverny, +I hope you've found the man who rescued you. + +SAVERNY. + +No; I have searched the city through in vain. +The robbers, the young man, and Marion-- +They have all faded from me like a dream. + +BRICHANTEAU. + +You must have seen him when he brought you back, +Like a good Christian, from those infidels. + +SAVERNY. + +The first thing that he did was to throw down +The lamp. + +GASSE. + + That's strange! + +BRICHANTEAU. + + You'd recognize him if +You met him? + +SAVERNY. + + No; I didn't see his face. + +BRICHANTEAU. + +What is his name? + +SAVERNY. + + Didier. + +ROCHEBARON. + + That's no man's name! +That is a bourgeois name. + +SAVERNY. + + It doesn't matter. +Didier is this man's name. There are great men +Who have been conquerors and bear grand names, +But they've no greater hearts than this man had. +I had six robbers! He had Marion! +He left her, and saved me. My debt's immense! +This debt I mean to pay. I tell you all: +I'll pay it with the last drop of my blood! + +VILLAC. + +Since when do you pay debts? + +SAVERNY (_proudly_). + + I've always paid +Those debts which can be paid with blood. +Blood is the only change I carry, sir! + +[_It is quite dark; the windows in the city are lighted one by one; a +lamplighter enters and lights a street-lamp above the edict and goes +out. The little door through which Marion and Didier disappeared is +re-opened. Didier comes forth dreamily, walking slowly, his arms +folded._ + + +SCENE III + +_The same._ Didier + +DIDIER (_coming slowly from the back; no one sees or hears him_). + +Marquis de Saverny! I would like much +To see that fool who looked at her so hard. +I have him on my mind. + +BOUCHAVANNES (_to Saverny, who is talking with Brichanteau_). + + Saverny! + +DIDIER (_aside_). + + Ah, +That is my man! + +[_He advances slowly, his eyes fixed on the noblemen, and sits down at a +table placed under the street-lamp, which lights up the edict. +L'Angely, motionless and silent, is a few steps distant._ + +BOUCHAVANNES (_to Saverny, who turns around_). + + You know about the edict? + +SAVERNY. + +Which one? + +BOUCHAVANNES. + + Commanding us to give up duels. + +SAVERNY. + +It is most wise. + +BRICHANTEAU. + + Hanging's the penalty. + +SAVERNY. + +You must be jesting. Commoners are hanged, +Not nobles. + +BRICHANTEAU (_showing the placard_). + + Read it for yourself. It's there, +Upon the wall. + +SAVERNY (_perceiving Didier_). + + That sallow face can read +For me. + [_To Didier, elevating his voice._ + Ho! man there with the cloak! My friend! +Good fellow! +[_To Brichanteau._] Brichanteau, he must be deaf. + +DIDIER (_slowly lifting his head, without taking his eyes from him_). + +You spoke to me? + +SAVERNY. + + I did! In fair return, +Read that placard which hangs above your head. + +DIDIER. + +I? + +SAVERNY. + + You--if you can spell the alphabet. + +DIDIER (_rising_). + +It is the edict threatening duelists +With gallows, be they nobles or plebeians. + +SAVERNY. + +No, you mistake, my friend. You ought to know +A nobleman was never born to hang, +And in this world, where we claim all our rights, +Plebeians are the gallows' only prey. + [_To the noblemen._ +These commoners are rude. +[_To Didier, with malice._] You don't read well; +Perhaps you are near-sighted. Lift your hat, +'Twill give you more light. Take it off. + +DIDIER (_overthrowing the table which is in front of him_). + + Beware! +You have insulted me! I've read for you; +I claim my recompense! I'll have it, too! +I want your blood, I want your head, Marquis! + +SAVERNY (_smiling_). + +We must be fitted to our station, sir. +I judge him commoner, he scents marquis +In me. + +DIDIER. + + Marquis and commoner can fight. +What do you say to mixing up our blood? + +SAVERNY. + +You go too fast, and fighting is not all. +I am Gaspard, Marquis de Saverny. + +DIDIER. + +What does that matter? + +SAVERNY. + + Here my seconds are! +The Count de Gasse, noble family, +And Count de Villac, family La Teuillade, +From which house comes the Marquis d'Aubusson. +Are you of noble blood? + +DIDIER. + + What matters that? +I am a foundling left at a church door. +I have no name; but in its place, I've blood, +To give you in exchange for yours! + +SAVERNY. + + That, sir, +Is not enough; but as a foundling, you +May claim the right, because you might be noble. +It is a better thing to lift a vassal +Than to degrade a peer. You may command me! +Choose your hour, sir. + +DIDIER. + + Immediately! + +SAVERNY. + + Agreed! +You're no usurper, that is clear. + +DIDIER. + + A sword! + +SAVERNY. + +You have no sword? The devil! that is bad. +You might be thought a man of low descent. +Will you have mine? + [_Offers his sword to Didier._ + Well tempered and obedient! + +[_L'ANGELY rises, draws his sword and presents it to Didier._ + +L'ANGLEY. + +No; for a foolish deed, you'd better take +A fool's sword! You are brave! You'll honor it! +[_Maliciously._] And in return, to bring me luck, pray let +Me cut a piece from off the hanging-rope! + +DIDIER (_bitterly, taking sword_). + +I will. + [_To The Marquis._ + Now God have mercy on the good! + +BRICHANTEAU (_jumping with delight_). + +A duel--excellent! + +SAVERNY (_to Didier)._ + + Where shall we fight? + +DIDIER. + +Beneath the street-lamp. + +GASSE. + + Gentlemen, you're mad! +You cannot see. You'll put your eyes out. + +DIDIER. + + Humph! +There's light enough to cut each other's throat. + +SAVERNY. + +Well said! + +VILLAC. + + You can see nothing. + +DIDIER. + + That's enough! +Each sword is lightning flashing in the dark. +Come, Marquis! + +[_Both throw off their cloaks, take off their hats with which they +salute each other, throwing them afterward on the ground. Then they draw +their swords._ + +SAVERNY. + + At your service, sir. + +DIDIER. + + Now! _Garde!_ + +[_They cross swords and fence, silently and furiously. Suddenly the +small door opens, Marion in a white dress appears._ + + +SCENE IV + +_The same._ Marion + +MARION. + +What is this noise? + [_Perceiving Didier under the lamp._ + Didier! + [_To the combatants._] Stop! + [_They continue._] Ho! The guard! + +SAVERNY. + +Who is this woman? + +DIDIER (_turning_). + + Heaven! + +BOUCHAVANNES (_running, to Saverny_). + + All is lost! +That woman's cry went through the town. +I saw the archers' rapiers flash. + [_The Archers with torches enter._ + +BRICHANTEAU (_to Saverny_). + + Seem dead, +Or you will be so! + +SAVERNY (_falling down_). + + Ah! + +[_Low to Brichanteau, who bends over him._ + + Oh, damn these stones. + +[_Didier, who thinks he has killed him, pauses._ + +CAPTAIN OF THE DISTRICT. + +Hold! In the King's name! + +BRICHANTEAU (_to the noblemen_). + + We must save the Marquis. +He's a dead man if he is caught. + [_The noblemen surround Saverny._ + +CAPTAIN OF THE DISTRICT. + + Zounds, sirs! +To fight a duel 'neath the very light +Of the edict is bold indeed! + [_To Didier._] Give up +Your sword. + +[_The Archers seize Didier, who stands apart, and disarm him. The +Captain indicates Saverny stretched upon the ground and surrounded by +the noblemen._ + + That other man with dull eyes, who +Is he? What is his name? + +BRICHANTEAU. + + His name's Gaspard, +Marquis de Saverny, and he is dead. + +CAPTAIN OF THE DISTRICT. + +Dead, is he? Then his trouble's over. Good! +This dead man's worth more than the other. + +MARION (_frightened_). + + What! + +CAPTAIN OF THE DISTRICT (_to Didier_). + +The whole affair rests now with you, sir. Come! + +[_The Archers lead Didier off on one side, the noblemen carry +Saverny off on the other._ + +DIDIER (_to Marion, who is motionless from horror_). + +Forget me, Marion. Good-by! [_They exit._ + + +SCENE V + +Marion, L'Angely + +MARION (_rushing to detain him_). + + Didier! +What do you mean? Good-by? Why this good-by? +Wherefore forget you? + +[_The Soldiers push her off; she approaches L'Angely with anguish._ + + Is he lost for this? +What did he do? What will they do to him? + +L'ANGELY (_takes her hand and leads her in silence before the edict_). + +Read this! + +MARION (_reads, and starts back with horror_). + + My God! Just God! Condemned to death! +They've taken him away. To kill him! Oh, +I brought this ruin on him with my cries! +I called for help, but my unhappy voice +Found death in the dark streets and brought her here. +Impossible! A duel is no crime! [_To L'Angely._ +They'll not kill him for that? + +L'ANGELY. + + I think they will. + +MARION. + +He can escape! + +L'ANGELY. + + The prison walls are high! + +MARION. + +I've brought this crime upon him with my sins. +God strikes him for my sake! My Didier! love! +[_To L'Angely._] Nothing on earth seemed good enough for him! +A prison cell--my God! Death! Torture too! + +L'ANGELY. + +Perhaps! It all depends-- + +MARION. + + I'll find the King! +He has a royal heart; he pardons. + +L'ANGELY. + + Yes, +The King does, not the Cardinal. + +MARION. + + Then, what-- +What can I do? + +L'ANGELY. + + A capital offense, +Nothing can save him from the fatal rope. + +MARION. + +Oh, grief! +[_To L'Angely._] You freeze my blood, sir. Who are you? + +L'ANGELY. + +I'm the King's jester! + +MARION. + + Oh, my Didier, love, +I'm lost, unworthy; but what God can do +With a weak woman's hands, I'll show to you. +Go on, my love; I follow! + +[_She goes out on the side from which Didier left._ + +L'ANGELY (_alone_). + + God knows where! + +[_Picking up the sword which Didier left on the ground._ + +Among all these, who'd think I was the fool? [_He goes out._ + + + + +_ACT III_ + +THE COMEDY + +Scene.--_The Castle of Nangis. A park in the style of Henry IV. In the +background on an elevation, the Castle of Nangis, part new, part old, is +visible. The old, a castle-keep with arches and turrets: the new, a +large brick house with corners of wrought stone, and pointed roof. The +large door of the castle-keep is hung with black: from afar one +distinguishes a coat-of-arms--that of the families of Nangis and of +Saverny_ + + +SCENE I + +_M. DE LAFFEMAS, undress costume of a magistrate of the period. +Marquis de Saverny, disguised as an officer of the Regiment of Anjou; +with black mustache and imperial, and a plaster on the eye_ + +LAFFEMAS. + +Then you were present, sir, at the attack? + +SAVERNY (_pulling his mustache_). + +I was his comrade: had that honor, sir! +But he is dead! + +LAFFEMAS. + + The Marquis de Saverny? + +SAVERNY. + +Yes, from a thrust in tierce, which burst the doublet, +Then carved its cruel way between the ribs +Through to the chest and to the liver, which, +As you well know, makes blood. The wound was fearful. +'Twas horrible to see! + +LAFFEMAS. + + He died at once? + +SAVERNY. + +Almost. His agony was short. I watched +The spasm follow frenzy; tetanos +Then came, and after opisthotonos +There followed improstathonos. + +LAFFEMAS. + + The deuce! + +SAVERNY. + +So that I calculate 'tis false to say +The blood passes the jugular. Pequet +And learned men should be condemned when they +Dissect live dogs to study 'bout the lungs. + +LAFFEMAS. + +The poor marquis is dead. + +SAVERNY. + + A thrust is fatal. + +LAFFEMAS. + +You are a doctor, sir, of medicine? + +SAVERNY. + +No. + +LAFFEMAS. + + You have studied it? + +SAVERNY. + + Somewhat. +In Aristotle. + +LAFFEMAS. + + You can talk it well! + +SAVERNY. + +Faith! I've a most malicious sort of heart. +I like destruction; find delight in evil; +I love to kill! So that I thought I'd be +A soldier or a doctor, sir, at twenty. +But I hesitated long, and finally +I chose the sword. It's not so sure, but twice +As quick. There was a time, I will confess, +I longed to be a poet or an actor, +Or an exhibitor of bears--but then, +I like dinner and supper every day. +A plague upon the poetry and bears! + +LAFFEMAS. + +With this hope in your mind you studied verse? + +SAVERNY. + +A little bit, in Aristotle. Yes-- + +LAFFEMAS. + +The Marquis knew you? + +SAVERNY. + + He knew me as well +As a lieutenant knows an upstart soldier. +I belonged to Monsieur de Caussade first, +Who gave me to the Marquis' colonel. Poor +The present, but we do the best we can! +They made me officer--I'm worth as much +As any, and I wear a black mustache. +That is my history. + +LAFFEMAS. + + They sent you here +To notify the uncle? + +SAVERNY. + + Yes; I came +With Brichanteau, the cousin, and the corpse. +He will be buried here--where, if he'd lived, +He would have had his wedding! + +LAFFEMAS. + + Tell me how +The old Marquis de Nangis bore the news. + +SAVERNY. + +With calmness, without tears. + +LAFFEMAS. + + He loved him though? + +SAVERNY. + +As much as we love life. Having no children +Of his own he had but this one passion-- +His nephew, whom he dearly loved, although +They had not seen each other for five years. + +[_In the background, the old Marquis de Nangis passes; white hair, +pale countenance, arms folded across his breast, dress of the day of +Henry IV.: deep mourning; the star and the ribbon of the order of the +Holy Ghost. He walks slowly; nine guards in three rows follow; they are +dressed in mourning, their halberds on their right shoulder, their +muskets on their left; they keep within a short distance, stopping when +he stops, and continuing when he continues._ + +LAFFEMAS (_watching him pass_). + +Poor man! + +[_He goes to the back and follows The Marquis with his eyes._ + +SAVERNY (_aside_). + + My good old uncle! + +[_Brichanteau enters and goes to Saverny._ + + +SCENE II + +_The same._ Brichanteau + +BRICHANTEAU. + + Ah! two words! +[_Laughing._] He's looking pretty well for a dead man! + +SAVERNY (_low, indicating The Marquis, who passes_). + +Why do you make me grieve him, Brichanteau? +I think we might explain it to him now. +Oh, let me try. + +BRICHANTEAU. + + No; God forbid, my friend! +His grief must be sincere; he must weep much. +His woe is one good half of your disguise. + +SAVERNY. + +Poor uncle! + +BRICHANTEAU. + + He will find it out ere long. + +SAVERNY. + +If sorrow has not killed him, then joy will. +These shocks are dangerous to such old men. + +BRICHANTEAU. + +It must be done! + +SAVERNY. + + I cannot bear to hear +Him laugh so bitterly, then weep; then keep +So still! I hate to see him kiss that coffin. + +BRICHANTEAU. + +Yes--a fine coffin with no corpse in it! + +SAVERNY. + +But I am dead and bleeding in his heart. +The corpse lies there. + +LAFFEMAS (_coming back_). + + Alas, the poor old man! +His eyes show plainly how he's suffering! + +BRICHANTEAU (_low to Saverny_). + +Who is that surly-looking man in black? + +SAVERNY (_with gesture of ignorance_). + +Some friend who's living at the castle? + +BRICHANTEAU (_low_). + + Crows +Are also black and love the smell of death. +Keep silence more than ever. 'Tis a face +That's treacherous and evil; it would make +A madman prudent. + +[_The Marquis de Nangis re-enters; he is still absorbed in a deep +reverie. He walks slowly, does not appear to notice any one, and seats +himself upon a bank of turf._ + + +SCENE III + +_The same._ Marquis de Nangis + +LAFFEMAS (_approaching The Marquis_). + + Marquis, we've lost much. +He was a rare man; would have comforted +Your old age. I mingle my tears with yours. +Young, handsome, good, naught more could be desired; +Obeying God, respecting women, strong; +Just in his actions, sensible in speech, +A perfect nobleman, whom all revere! +To die so young! Most cruel fate! Alas! + +[_The Marquis lets his head fall on his hands._ + +SAVERNY (_low to Brichanteau_). + +The devil take this funeral discourse! +These praises but augment the old man's grief. +Console him, you; Show him the other side. + +BRICHANTEAU (_to Laffemas_). + +You are mistaken, sir. I was in the +Same grade. A bad comrade, this Saverny-- +A shiftless fellow, growing worse each day. +Courageous! Every man is brave at twenty; +His death is nothing much to boast about. + +LAFFEMAS. + +A duel! Surely, that is no great crime. + +[_Banteringly to Brichanteau, pointing to his sword._ + +You are an officer? + +BRICHANTEAU (_in the same tone, pointing to Laffemas's wig_). + + A magistrate? + +SAVERNY (_low_). + +Go on! + +BRICHANTEAU. + + He was capricious, thankless, and +A liar: not worth any real regret. +He went to church, but just to ogle girls. +He was a gallant, a mere libertine, +A fool! + +SAVERNY (_low_). + + Good! good! + +BRICHANTEAU. + + Intractable and stubborn; +Rude to his officers. As to good looks, +He had lost his; he limped, had a large wen +Upon his eye; from blonde had turned to red, +And from round-shouldered had become hump-backed. + +SAVERNY (_low_). + +Enough! + +BRICHANTEAU. + + He gambled--every one knows that. +He would have staked his soul on dice. I'll wager +That cards had eaten up his property. +His fortune galloped faster every night. + +SAVERNY (_low, pulling his sleeve_). + +Enough! Good God! Your consolation is +Too strong. + +LAFFEMAS. + + To speak so ill of a dead friend! +Unpardonable! + +BRICHANTEAU (_indicating Saverny_). + + Ask this gentleman! + +SAVERNY. + +Oh, no; I beg to be excused! + +LAFFEMAS (_affectionately, to the old Marquis_). + + My lord, +We'll comfort you. We have his murderer, +And we will hang him. We have kept him safe. +His end is sure. + [_To Brichanteau and Saverny._ + But can one understand +The Marquis? There are duels, we all know, +That cannot be avoided, but to fight +With any one named Didier-- + +SAVERNY (_aside_). + + What? Didier? + +[_The old Marquis, who has remained silent and motionless during all +this scene, rises and goes out slowly on the side opposite where he came +in. His guards follow him._ + +LAFFEMAS (_wiping away a tear and following him with his eyes_). + +In truth, his sorrow deeply touches me. + +LACKEY (_running_). + +My lord! + +BRICHANTEAU. + + Why can't you leave your master quiet? + +LACKEY. + +It is the burial of the young marquis! +What is the hour? + +BRICHANTEAU. + + You'll know it by-and-by. + +LACKEY. + +A few comedians have arrived here from +The city; they beg shelter for the night. + +BRICHANTEAU. + +The time's ill-chosen for comedians, but +The law of hospitality holds good. +Give them this barn. + [_Indicating a barn on the left._ + +LACKEY (_holding a letter_). + + A letter! 'Tis important! +[_Reading._] For a Monsieur de Laffemas. + +LAFFEMAS. + + 'Tis I! +Give it to me! + +BRICHANTEAU (_low to Saverny, who has remained thoughtful in a +corner_). + + Saverny, let us go! +Come and arrange things for your funeral! + [_Pulling him by the sleeve._ +What is it? Are you dreaming? + +SAVERNY (_aside_). + + Oh, Didier! [_They go out._ + + +SCENE IV + +LAFFEMAS (_alone_). + +The seal of State! The great seal of red wax! +Come! this is business. Let me know at once! +[_Reading._] "Sir Criminal Lieutenant: We make known +To you that Didier, the assassin of +The late Marquis Gaspard, has fled." My God! +That is unfortunate! "A woman is +With him, called Marion de Lorme. We beg +You to return as soon as possible." +Quick! Get me horses! I, who felt so sure! +Another matter spoiled for want of sense. +Outrageous! Of the two, not one! One, dead! +Escaped, the other! I will catch him, though! + +[_He exits. Enter a troupe of strolling actors, men, women and children +in character costumes. Among them are Marion and Didier, dressed as +Spaniards. Didier wears a great felt hat and is covered with a cloak._ + + +SCENE V + +_The Comedians_, Marion, Didier + +A LACKEY (_conducting the Comedians to the barn_). + +This is your lodging. You're on the estate +Of the Marquis de Nangis. Behave well, +Try to be quiet, for some one is dead. +The burial is to-morrow. Above all, +Don't mix your songs with the funereal chants +Which will be sung for him throughout the night. + +GRACIEUX (_small and hump-backed_). + +We'll make less noise than do your hunting-dogs +Who bark around the legs of all who pass! + +LACKEY. + +Dogs are not actors, my good friend. + +TAILLEBRAS (_to Gracieux_). + + Be still! +You'll cause us to sleep in the open air! + [_Lackey exits._ + +SCARAMOUCHE (_to Marion and Didier, who until now have remained +quietly apart_). + +Come! let us talk. Now you belong to us. +Why Monsieur fled with Madame on behind, +If you are man and wife or lovers only, +Escaping justice, or black sorcerers +Who held Madame a prisoner, perhaps-- +Is not my business. What I want to know +Is what you'll act. Chimenes are best for you, +Black eyes. + [_Marion makes a courtesy._ + +DIDIER (_aside, indignant_). + + To hear that mountebank speak thus! + +SCARAMOUCHE (_to Didier_). + +For you: if you should want a splendid part, +We need a bully--a long-legged man, +Tremendous strides, a thundering voice; and when +Orgon is robbed of wife or niece, you kill +The Moor and terminate the piece. Great part! +High tragedy! 'Twill suit you splendidly. + +DIDIER. + +Just as you please! + +SCARAMOUCHE. + + Good! Don't say "you" to me! +I like "thou"! [_With a profound obeisance._ + Blusterer, hail! + +DIDIER (_aside_). + + What fools! + +SCARAMOUCHE (_to the other actors_). + + Now eat; +Then we'll rehearse our parts. + +[_All enter the barn except Marion and Didier._ + + +SCENE VI + +_Marion, Didier; afterward Gracieux, Saverny, +afterward Laffemas_ + +DIDIER (_with bitter laugh, after a long silence_). + + Is't bad enough? +My Marion, have I dragged you low enough? +You wished to follow me? My destiny +Precipitates itself and crushes you, +Bound to its wheel! What are we come to now? +I told you so! + +MARION (_trembling and clasping her hands_). + + Do you reproach me, love? + +DIDIER. + +Oh, may I be accursed! Cursed first by Heaven, +Then cursed 'mongst men: cursed throughout all my life; +Cursed more than we are now, if a reproach +Shall ever leave my lips for you! What matter +Though all the earth abandon me, you're mine! +You are my savior, refuge, all my hope! +Who duped the jailer, filed my chains for me? +Who came from heaven to follow me to hell? +Who was a captive with the prisoner, +An exile with the fugitive? Ah, who, +Who else had heart so full of love and wit, +Heart to sustain, console, deliver me? +Great, feeble woman, have you not saved me +From destiny, alas! and my own soul? +Had you not pity on my nature, crushed? +Have you not loved one whom all others hate? + +MARION (_weeping_). + +It is my joy to love you--be your slave. + +DIDIER. + +Leave me your eyes, dear; they enrapture me! +God willed, when placing soul within my flesh, +A demon and an angel should guide me. +Yet he was merciful; his love concealed +The demon, but the angel he revealed. + +MARION. + +You are my Didier, master, lord of me! + +DIDIER. + +Your husband, am I not? + +MARION (_aside_). + + Alas! + +DIDIER. + + What joy, +When we have left this country far behind, +To have you, call you wife as well as love! +You will be willing?--answer. + +MARION. + + I will be +Your sister, and my brother you shall be! + +DIDIER. + +Oh, no! Refuse me not that ecstasy +Of knowing, in God's sight, you're mine alone! +You're safe to trust my love in everything. +The lover keeps you for the husband, pure! + +MARION (_aside_). + +Alas! + +DIDIER. + + If you knew how things torture me! +To hear that actor talk, affront you thus! +It is not least among our wretched woes +To see you mixed with jugglers such as these, +A chaste, exquisite flower 'mid this filth-- +You, 'mongst these women steeped in infamy! + +MARION. + +Be prudent, Didier! + +DIDIER. + + God! I struggled hard +Against my anger! He said "thou" to you, +When I, your love, your husband, hardly dare +For fear of tarnishing that virgin brow-- + +MARION. + +Be pleasant with them; it means life to you, +And me as well. + +DIDIER. + + She's right. She's always right. +Although each hour brings us increasing woe, +You lavish on me love and joy and youth! +How happens it these blessings come to me, +When royal kingdoms were small pay for them-- +To me, who give but anguish in return? +Heaven gave you--yes; but hell binds you to me. +For us to merit this unequal fate, +What good can I have done? What evil you? + +MARION. + +My only blessings come from you, my love! + +DIDIER. + +If you say that you think it, but it's wrong! +Oh, yes, my star of destiny is bad. +I know not whence I come, nor where I go. +My whole horizon's dark. Love, hark to me! +There's time yet; you can leave me and go back. +Let me pursue the gloomy route alone. +When all is ended and I'm tired out, +The couch that's waiting will be cold--ice-cold, +And narrow; there's not room enough for two. +Go back! + +MARION. + + That couch, dark, and mysterious, +I'll share it with you; that at least is mine. + +DIDIER. + +Will you not listen? Can't you understand? +You're tempting Providence to cling to me! +The years of anguish, love, may be so long +Your sweet eyes may grow sightless, just from tears. + +[_Marion lets her head fall on her hands._ + +DIDIER. + +I swear I draw the picture none too strong. +Your future frightens me. I pity you! +Go back! + +MARION (_bursting into tears_). + + It were more kind to kill me, Didier, +Than to talk thus! [_Weeping._] O God! + +DIDIER (_taking her in his arms_). + + My darling, hush! +So many tears! I'd shed my blood for one. +Do what you will! Come, be my destiny, +My glory, life, my virtue, and my love! +Answer me now. I speak! Sweet, do you hear? + +[_He seats her on a bank of turf._ + +MARION (_withdrawing herself from his arms_). + +You've hurt me! + +DIDIER (_kneeling to her_). + + I, who'd gladly die for her! + +MARION (_smiling through her tears_). + +You made me cry, you cruel man! + +DIDIER. + + My beauty! + +[_Sits on the bank beside her._ + +Just one sweet kiss upon your forehead, pure +As is our love! + +[_He kisses her forehead. They look at each other with ecstasy._ + + Yes, look at me! Look thus, +Look harder; look until we die of looking! + +GRACIEUX (_entering_). + +Dona Chimene is wanted in the barn. + +[_Marion rises hastily from Didier's side. At the same time that +Gracieux enters, Saverny comes in; he stands in the background and +looks attentively at Marion without seeing Didier, who remains +sitting on the bank and is hidden by a bush._ + +SAVERNY (_back, without being seen, aside_). + +Faith, it is Marion! What brings her here? +[_Laughing._] Chimene! + +GRACIEUX (_to Didier, who is about to follow Marion_). + + Oh, no! stay there, my jealous friend, +I want to tease you! + +DIDIER. + + Devil take you! + +MARION (_low to Didier_). + + Hush! +Restrain yourself. + +[_Didier re-seats himself; she enters the barn._ + +SAVERNY (_still back, aside_). + +What makes her roam the country in this fashion? +Can he be the gallant who succored me? +Who saved my life? Didier! It is indeed! + +LAFFEMAS (_enters in traveling costume, and salutes Saverny_). + +I take my leave, sir! + +SAVERNY (_bowing_). + + You are going away? [_He laughs._ + +LAFFEMAS. + +What makes you laugh? + +SAVERNY. + A very silly thing. +I'll tell you. Guess whom I have recognized +Among those jugglers who have just arrived. + +LAFFEMAS. + +Among those jugglers? + +SAVERNY (_laughing still more_). + + Yes. Marion de Lorme! + +LAFFEMAS (_with a start_). + +Marion de Lorme! + +DIDIER (_who has been looking at them fixedly all the time_). + + Hein? [_He half rises from the bank._ + +SAVERNY (_still laughing_). + + I would like to send +That news to Paris. Are you going there? + +LAFFEMAS. + +I am, and I will spread the news, trust me! +But are you sure you recognize her? + +SAVERNY. + + Sure? +Hurrah for France! We know our Marion. + [_Feeling in his pocket._ +I think I have her portrait--tender pledge +Of love! She had it done by the King's painter. + [_Giving Laffemas a locket._ +Look and compare them. + [_Indicating the barn door._ + See her, through that door, +In Spanish costume, with green petticoat. + +LAFFEMAS (_looking from the locket to the barn_). + +'Tis she--Marion de Lorme! [_Aside._] I have him now! + +[_To Saverny._] She must have a companion 'mongst these men. + +SAVERNY. + +It's likely. Such fair ladies are not prudes, +And seldom travel round the world alone. + +LAFFEMAS (_aside_). + +I'll guard this door. It will go hard, indeed, +If I can't capture that false actor here. +He's taken now--no doubt of that! [_Goes out._ + +SAVERNY (_watches the exit of Laffemas: aside_). + + I think +I've done a foolish thing. + +[_Taking Gracieux aside, who all this time has stood in a corner +gesticulating and running over his lines: in a whisper._ + + Who is that lady +Sitting within the shadow there? + +[_Indicating the door of the barn._ + +GRACIEUX. + + Chimene? +[_Solemnly._] My lord, I do not know her name. Ask him, +This lord, her noble friend. + +[_Exits on the side of the park._ + + +SCENE VII + +Didier, Saverny + +SAVERNY (_turning toward Didier_). + + This gentleman? +Tell me-- 'Tis strange how hard he looks at me! +Upon my soul, 'tis he! My man! [_Loud to Didier._] If you +Were not in prison, I should say that you +Resemble a-- + +DIDIER. + + And if you were not dead, I'd say +That you had the exact appearance of-- +His blood be on his head!--a man whom two +Short words of mine put in a tomb. + +SAVERNY. + + Hush! You +Are Didier! + +DIDIER. + + Marquis Gaspard, you! + +SAVERNY. + + 'Twas you +Who were somewhere, a certain night! 'Tis you +To whom I owe my life! + +[_He opens his arms. Didier draws back._ + +DIDIER. + + Excuse surprise! +I felt so sure I took it back. + +SAVERNY. + + Not so! +You saved me--did not kill me! Let me know +What I can do for you. Do you desire +A second--brother--a lieutenant? Speak! +What will you have--my blood, my wealth, my soul? + +DIDIER. + +Not any of those things. That portrait there! + +[_Saverny gives him the portrait; he looks at it, speaking with +bitterness._ + +Yes, there's her brow, her black eyes, her white neck; +Above all, there's her candid glance! How like! + +SAVERNY. + +You think so? + +DIDIER. + + This was made for you, you say? + +SAVERNY (_bowing, and making an affirmative sign_). + +It was! But now 'tis you whom she prefers, +You whom she loves and chooses 'mongst us all. +You are a happy man. + +DIDIER (_with loud and mocking laugh_). + + Yes! Am I not? + +SAVERNY. + +Accept my compliments; she's a good girl, +And loves no one but men of family. +Of such a mistress one can well be proud! +It's honorable, and it gives one style. +'Tis in good taste. If men ask who you are +They say, "Beloved of Marion de Lorme." + +[_Didier gives him back the portrait; he refuses it._ + +No, keep the portrait; since the lady's yours, +It should belong to you. Keep it, I pray. + +DIDIER. + +I thank you! [_Puts it in his breast._ + +SAVERNY. + + She is charming in that dress. +So you are my successor! One might say, +As King Louis succeeded Pharamond. +The Brissacs, both of them, supplanted me. +[_Laughing._] Then, yes, the Cardinal himself came next, +Then little D'Effiat, then the three Sainte-Mesmes, +The four Argenteans! In her heart you'll find +The best society. [_Laughing._] A little numerous. + +DIDIER (_aside_). + +My God! + +SAVERNY. + + Tell me about it some time. Now, +To be quite frank with you, I pass for dead, +And in the morning shall be buried. You +Must have escaped police and seneschals. +Your Marion can manage everything! +You joined a strolling company by chance; +What a delightful history! + +DIDIER. + + Yes, true +It is a history! + +SAVERNY. + + To get you out +She probably made love to all the jailers. + +DIDIER (_in a voice of thunder_). + +Do you think that? + +SAVERNY. + + You are not jealous--what? +Oh, joke incredible!--of Marion! +A man jealous of Marion! The poor child! +Don't go and scold her! + +DIDIER. + + Have no fear. [_Aside._] The angel-- +It was a demon! Oh, my God! + +[_Enter Laffemas and Gracieux. Didier goes out; Saverny follows +him._ + + +SCENE VIII + +Laffemas, Gracieux + +GRACIEUX (_to Laffemas_). + + My lord, +I do not understand you! + [_Aside._] Humph! A costume +Of Alcaid and a figure of police; +Small eyes, adorned with big eyebrows! I think +He plays the part of Alguazil in this +Locality. + +LAFFEMAS (_pulling out his purse_). + + My friend! + +GRACIEUX (_drawing near, low to Laffemas_). + + My lord--I see! +Chimene has interested you. You wish +To know-- + +LAFFEMAS (_low, smiling_). + + Who is her Roderick? + +GRACIEUX. + + You mean +Her lover? + +LAFFEMAS. + + Yes! + +GRACIEUX. + + Who groans beneath her spell? + +LAFFEMAS (_impatiently_). + +There's one? + +GRACIEUX. + + Of course! + +LAFFEMAS (_approaching him eagerly_). + + Then show him to me, quick! + +GRACIEUX (_with profound obeisance_). + +It's I, my lord. I'm mad about her! + +LAFFEMAS. + + You! + +[_Laffemas, disappointed, turns away with annoyance; then he comes +back and shakes his purse in Gracieux's eyes and ears._ + +Know you the sound of ducats? + +GRACIEUX. + + Heavenly tones! + +LAFFEMAS (_aside_). + +I've got my Didier! + [_To Gracieux._] Do you see this purse? + +GRACIEUX. + +How much! + +LAFFEMAS. + + Gold ducats--twenty! + +GRACIEUX. + + Humph! + +LAFFEMAS (_jingling the gold in his face_). + + Will you? + +GRACIEUX (_grabbing the purse from him_). + +Most certainly! + +[_With theatrical tone to Laffemas, who listens anxiously._ + + My lord, if your back bore +Just in the center a great hump, as big +As is your belly, and if those two bags +Were filled with louis, sequins, and doubloons, +In that case-- + +LAFFEMAS (_eagerly_). + + Well, what would you do? + +GRACIEUX (_putting the purse into his pocket_). + + I'd take +The whole of it, and I would say-- + [_With profound obeisance._ + I thank you; +You are a gentleman! + +LAFFEMAS (_aside, furious_). + + Plague on the monkey! + +GRACIEUX (_aside, laughing_). + +The devil take the cat! + +LAFFEMAS (_aside_). + + They have agreed +On what to do, if any one suspects. +'Tis a conspiracy. They'll all be dumb; +Accursed gypsy devils! + +[_To Gracieux who is going away._ + + Give me back +My purse! + +GRACIEUX (_turning around, with tragic tone_). + + What do you take me for, my lord? +What will the world think of us, pray, if you +Propose and I agree to anything +So infamous as sell for gold a life, +My soul? [_Turns to go._ + +LAFFEMAS. + + That's as you please; but give me back +My money! + +GRACIEUX. + + No, I keep my honor, sir, +And we have no accounts to settle. + +[_He salutes him and re-enters barn._ + + +SCENE IX + +LAFFEMAS (_alone_). + + Humph! +The wretched juggler! Pride in such base souls! +If you some day should fall into my hands +Unoccupied with better sort of game-- +But this will not find Didier! Now, I can't +Take all this crowd and put them to the torture. +This is worse work than hunting needles in +A haystack. Faith! a chemist's crucible +Bewitched I ought to have, which, eating up +The lead and copper, would reveal at last +The golden ingot hid by much alloy. +Go to the Cardinal without my prize? + [_Striking his brow._ +That's it! The clever thought! Oh, joy! He's mine! + [_Calling through the barn door._ +Ho, gentlemen, comedians! one word, please. + +[_The actors crowd out of the barn._ + + +SCENE X + +_The same. Comedians, among them Marion and Didier; afterward +Saverny, afterward Marquis de Nangis_ + +SCARAMOUCHE (_to Laffemas_). + +What do you want with us? + +LAFFEMAS. + + Without preamble: +My lord the Cardinal commissioned me +To find good actors, if there may be such +Within the provinces, to act the plays +Which he constructs in hours of leisure when +Allowed by State affairs. In spite of care +And earnest thought, his theater declines, +And is no credit to a cardinal-duke. + +[_All the actors press eagerly forward. Saverny enters, and watches +the scene with curiosity._ + +GRACIEUX (_aside, counting his money_). + +Twelve only! He said twenty. The old scamp! +He's robbed me! + +LAFFEMAS. + + Let each one repeat some scene, +That I may know your talents and may choose. +[_Aside._] If he gets out of that, this Didier's sharp. +[_Aloud._] Are you all here? + +[_Marion stealthily approaches Didier and tries to lead him off._ + +GRACIEUX (_going up to them_). + + Come with the others--you! + +MARION. + +Oh, heaven! + +[_Didier leaves her and joins the actors; she follows him._ + +GRACIEUX. + You're in luck to be with us. +To have new clothes, get every day a feast, +To speak the Cardinal's verses every night, +A happy lot! + +[_All the actors take their places before Laffemas. Marion and +Didier among them. Didier does not look at Marion; his eyes are +bent on the ground; his arms are folded underneath his cloak. Marion +watches him anxiously._ + +GRACIEUX (_at head of troupe, aside_). + + Who would have thought this crow +Recruited actors for the Cardinal? + +LAFFEMAS (_to Gracieux_). + +First you. What do you play? + +GRACIEUX (_with a low bow and a pirouette which shows off his hump_). + + I'm called the Sylph +Among the troupe. This piece I know the best. + [_He sings._ + + "On the bald heads of magistrates, + Enormous wigs are spread. + Out of that fleece, in due time, come + Chains, gallows, tortures dread. + Whenever one called president + Shall shake his bigger head. + + "Let any barber, strolling fool, + Wash, powder, and pomade + The hair which bald heads steal from beards, + Let them be combed and frayed + In shape of a right gorgeous wig-- + Your magistrate is made. + + "The lawyer is a sea of words + Hurled wildly at the bench. + A killing kind of mixing up + Of Latin and bad French--" + +LAFFEMAS (_interrupting him_). + +You sing so false, you'd make an eagle sick. +Be still! + +GRACIEUX (_laughing_). + + I may sing false--the song is true! + +LAFFEMAS (_to Scaramouche_). + +It's your turn now. + +SCARAMOUCHE (_bowing_). + + I'm Scaramouche, my lord! +"The Lady of Honor," sir, I open thus. + [_Declaiming._ +"'Naught is so fine,' said once a Queen of Spain, +'As bishop at the altar, soldier in +The field, unless it is a girl in bed, +Or robber on the gallows--'" + +[_Laffemas interrupts Scaramouche with a gesture and signs to +Taillebras to speak. Taillebras makes a profound obeisance, then +draws himself up._ + +TAILLEBRAS (_with emphasis_). + + As for me, +Sir, I am Taillebras. From Thibet, sir, +I come; I've punished the great Khan, I've captured +The Mogul-- + +LAFFEMAS. + + Choose something else-- + [_Low to Saverny, who stands beside him._ + A beauty, +Eh, this Marion! + +TAILLEBRAS. + + It is one of our best. +If you prefer, I will be Charlemagne, +The Emperor of the West. + [_Declaiming with emphasis._ + "Strange destiny! +O Heaven, I appeal to you! Bear witness +Unto my woe. I must despoil myself, +Surrender my beloved one to another. +I must endow my rival, fill his heart +With joy, while my poor stomach stings with grief. +Thus, birds, you can no more perch in the woods; +Thus, flies, you can no more buzz in the fields; +Thus, sheep, you can no longer wear your wool; +Thus, bulls, you can no longer raze the plains." + +LAFFEMAS. + +Good! +[_To Saverny._] Listen, the fine verses! "Bradamante" +By Garnier; what a poet! + [_To Marion._] 'Tis your turn, +My beauty. First, your name. + +MARION (_trembling_). + + I am Chimene! + +LAFFEMAS. + +Indeed! Chimene? Then you must have a lover. +He has killed a man in duel-- + +MARION (_terrified_). + + Oh, heaven! + +LAFFEMAS (_maliciously_). + +I've a good memory. If one escapes-- + +MARION (_aside_). + +Great heaven! + +LAFFEMAS. + + Come! Now let us hear your scene + +MARION (_half turned toward Didier_). + +"Since to arrest you in this fatal course +Your life and honor are of no avail, +If ever I have loved you, Roderick, +Defend yourself to save me from Don Sancho. +Fight valiantly against the fearful fate +Which must surrender me to one I hate. +Shall I say more? Go; your defense shall be +Your right to force my duty, seal my lips! +If love for me still in your brave heart lies, +Go win this combat, for Chimene is prize." + +[_Laffemas rises gallantly and kisses her hand. Marion is pale; she +looks at Didier, who remains motionless with eyes on the ground._ + +LAFFEMAS. + +No voice but yours could take so firm a hold +Upon the secret fibers of our heart. +You are adorable. +[_To Saverny._] You can't deny +Corneille is not worth Garnier, after all. +'Tis true, his verses have a finer ring +Since he's belonged unto the Cardinal-Duke. +[_To Marion._] What a complexion! What fine eyes! Good God! +This is no place for you! You're buried here. +Sit down! + +[_He sits and makes sign to Marion to sit beside him; she draws back._ + +MARION (_low to Didier, with anguish_). + + For God's sake, let me stay with you! + +LAFFEMAS (_smiling_). + +Come sit by me, I say! + +[_Didier repulses Marion, who staggers terrified to the bench where +Laffemas sits, and falls upon it._ + +MARION (_aside_). + + 'Tis horrible! + +LAFFEMAS (_smiling at Marion, with an air of reproach_). + +At last! +[_To Didier._] Now, sir, your turn. What is your name? + +DIDIER (_with gravity_). + +My name is Didier! + +MARION, LAFFEMAS, SAVERNY. + + Didier! + +DIDIER (_to Laffemas, who laughs triumphantly_). + + Yes, you can +Send all of them away. You've got your prey. +Your prisoner himself takes up his chain. +This joy has cost you a great deal of work. + +MARION (_running to him_). + +Didier! + +DIDIER (_with a freezing look_). + + Don't try to hinder me this time, +Madame! + +[_She starts back and falls crushed upon the bank: to Laffemas._ + + I've watched you creeping close to me, +You demon! In your eyes I've seen that glare +Of hell fire which illuminates your soul. +I might have 'scaped your trap--a useless thing; +But to see cunning wasted thus grieved me. +Take me, and get well paid for treachery. + +LAFFEMAS (_with concentrated rage, trying to laugh_). + +You are not a comedian, it would seem! + +DIDIER. + +It's you who played the comedy. + +LAFFEMAS. + + Not well. +But with the Cardinal I'll write a play. +It is a tragedy: you have a part. + +[_Marion screams with horror. Didier turns from her with contempt._ + +Don't turn your head in such a lordly way. +We will admire your acting, never fear! +Come, recommend your soul to God, my friend. + +MARION. + +Ah, God! + +[_At this moment Marquis de Nangis passes across the back of the +stage, in the same attitude, with his escort of Halberdiers. Marion's +cry arrests him; pale and silent he turns to the characters._ + +LAFFEMAS (_to_ Marquis de Nangis). + + Marquis, I claim your aid. Good news! +Lend me your escort. The murderer escaped +Our vigilance, but we've recaptured him. + +MARION (_throwing herself at Laffemas's feet_). + +Oh, pity for him! + +LAFFEMAS (_with gallantry_). + + At my feet, madame! +'Tis I should kneel at yours. + +MARION (_on her knees, clasping her hands_). + + My lord the judge, +Have mercy upon others, if some day +You hope a jealous judge, more powerful +Than you are, will be merciful to you! + +LAFFEMAS (_smiling_). + +You're preaching us a sermon, I believe! +Ah, madame, reign at balls and shine at fetes, +But do not preach us sermons. For your sake, +I would do anything; but he has killed-- +It is a murder. + +DIDIER (_to Marion_). + + Rise! [_Marion rises, trembling._ +You lie! it was a duel. + +LAFFEMAS. + +Sir! + +DIDIER. + + I say, you lie! + +LAFFEMAS. + + Have done! + [_To Marion._] Blood calls +For blood; this rigor troubles me-- I wish-- +But he has killed--killed whom? The young marquis, +Gaspard de Saverny, + [_Indicating Marquis de Nangis._ + Nephew to him, +That worthy old man there. A rare young lord; +The greatest loss for France and for the King. +Were he not dead, I do not say that I-- +My heart is not of stone, and if-- + +SAVERNY (_taking a step forward_). + + The man +You think is dead is living. I am he! + [_General astonishment._ + +LAFFEMAS (_starting_). + +Gaspard de Saverny! A miracle! +There is his coffin. + +SAVERNY (_tearing off his false mustache, his plaster, and black wig_). + + But he is not dead! +Who recognizes me? + +MARQUIS DE NANGIS (_as if awakening from a dream, starts, and with +a great cry throws himself into his nephew's arms_). + + Gaspard! My nephew! +It is my child! [_They remain locked in each other's arms._ + +MARION (_falling upon her knees and lifting her eyes to heaven_). + + Didier is saved! Praise God! + +DIDIER (_coldly, to Saverny_). + +What is the use? I wished to die. + +MARION (_still on her knees_). + + Kind God, +You have protected him! + +DIDIER (_continuing, without listening to her_). + + How otherwise +Could he have caught me in his trap? Think you +My spur could not have crushed the spider's web +Which he had made to catch a gnat? Henceforth +I ask no other boon than death. This is +No friendly gift from you, who owe me life! + +MARION. + +What does he say? You must live-- + +LAFFEMAS. + + All's not over. +Is it certain that this is the Marquis? + +MARION. + +It is. + +LAFFEMAS. + + We must have proof of it at once. + +MARION (_indicating Marquis de Nangis, who is still holding Saverny +in his arms_). + +Look at that old man, how he smiles and weeps! + +LAFFEMAS. + +Is that Gaspard de Saverny? + +MARION. + + What heart +Can question such a close embrace? + +MARQUIS DE NANGIS (_turning around_). + + You ask +If it is he--Gaspard, my son, my soul? +[_To Marion._] Did he not ask if it was he, madame? + +LAFFEMAS (_to Marquis de Nangis_). + +Then you affirm that this man is your nephew? +He is Gaspard de Saverny? + +MARQUIS DE NANGIS (_with intensity_). + + I do! + +LAFFEMAS. + +According to the law I do arrest +Gaspard de Saverny, in the King's name. +Your sword! + [_Surprise and consternation among the characters._ + +MARQUIS DE NANGIS. + + My son! + +MARION. + + Oh, Heaven! + +DIDIER. + + Another head! +Yes, two were needed. 'Tis the least, to bring +This Roman Caesar one head in each hand. + +MARQUIS DE NANGIS. + +Speak! By what right-- + +LAFFEMAS. + + Ask my lord cardinal. +All who survive a duel fall beneath +The ordinance. Give me your sword. + +DIDIER (_looking at Saverny_). + + Rash man! + +SAVERNY (_drawing his sword and presenting it to Laffemas_). + +'Tis here! + +MARQUIS DE NANGIS (_stopping him_). + + A moment! None is master here +Save me! I mete out justice high and low. +Our sire the King would be no more than guest. +[_To Saverny._] Give up your sword to none but me. + +[_Saverny hands him his sword, and clasps him in his arms._ + +LAFFEMAS. + + In truth, +That is a feudal right quite out of date. +The Cardinal might blame me for it, but +I would not willingly annoy you-- + +DIDIER. + + Wretch! + +LAFFEMAS (_bowing to Marquis de Nangis_). + +So I consent. You can return the favor +By loaning me your guard and prison, sir. + +MARQUIS DE NANGIS (_to his Guards_). + +Not so! Your sires were vassals to my sires. +I forbid any one to stir a step. + +LAFFEMAS (_with voice of thunder_). + +My masters, hark to me: I am the judge +Of the secret tribunal, Criminal- +Lieutenant to the Cardinal. Conduct +These men to prison. Four of you mount guard +Before each door. You're all responsible. +It would be rash to disobey when I command +You to go here or there or do a deed. +If any hesitate, it is because +His head annoys him. + +[_The Guards, terrified, drag the two prisoners off in silence, Marquis +de Nangis turns away indignant and buries his face in his hands._ + +MARION. + + All is lost! + [_To Laffemas._] Have pity! +If in your heart-- + +LAFFEMAS (_low to Marion_). + + If you will come to-night, +I'll tell you something-- + +MARION (_aside_). + + What is it he wants? +His smiles are terrible. He has a gloomy, +Treacherous soul. + [_Turning with desperation to Didier._ + Didier! + +DIDIER (_coldly_). + + Farewell, madame! + +MARION (_shuddering at the tone of his voice_). + +What have I done? Oh, miserable woman! + [_She sinks upon the bank._ + +DIDIER. + +Miserable! Yes! + +SAVERNY (_embraces Marquis de Nangis, then turns to Laffemas_). + + Is your pay doubled +When you bring two heads? + +LACKEY (_entering, to Marquis de Nangis_). + + My lord, +The funeral preparations for the Marquis +Are now completed. I am sent to you +To know what hour and day the ceremony +Will be performed. + +LAFFEMAS. + + Come back one month from now. + +[_The Guards lead off Didier and Saverny._ + + + + +_ACT IV_ + +THE KING + +Scene.--_Chambord. The guard-room in the Castle of Chambord_ + + +SCENE I + +_Duke de Bellegarde, rich court costume covered with embroidery and +lace, the order of the Holy Ghost around his neck, and the star upon his +cloak. Marquis de Nangis, in deep mourning and followed by his escort +of Guards. Both cross the back of the hall_ + +DUKE DE BELLEGARDE. + +Condemned? + +MARQUIS DE NANGIS. + + Condemned! + +DUKE DE BELLEGARDE. + + E'en so! The King can pardon. +It is his kingly right and royal duty. +Have no more fear. In heart as well as name +He's son of Henry IV. + +MARQUIS DE NANGIS. + + I was his comrade. + +DUKE DE BELLEGARDE. + +Indeed, we spoiled full many a coat of armor +For the proud sire! Now go unto the son, +Show him your gray hairs, and in lieu of prayer +Cry out "Ventre Saint Gris!" Let Richelieu +Himself give better reason! Hide here now. + [_He opens a side door._ +He's coming soon. Do you know, to be frank, +Your costume's of a style to make one laugh. + +MARQUIS DE NANGIS. + +Laugh at my mourning? + +DUKE DE BELLEGARDE. + + Ah, these coxcombs here! +Old friend, stay there; you'll not have long to wait. +I will dispose him 'gainst the Cardinal. +I'll stamp upon the ground for signal; then +Come out. + +MARQUIS DE NANGIS (_grasping his hand_). + + May God repay you! + +DUKE DE BELLEGARDE (_to a Musketeer who walks up and down in front of +a small gilt door_). + + Monsieur, pray, +What does the King? + +MUSKETEER. + + He's working, my lord duke! + [_Lowering his voice._ +A man in black is with him. + +DUKE DE BELLEGARDE (_aside_). + + At this moment +He is singing a death-warrant, I believe. + +[_To the old Marquis, grasping his hand._ + +Be brave! + +[_He conducts him to a neighboring gallery._ + + While waiting for the signal, look +At these new ceilings, they're by Primatice. + +[_Both go out. Marion, in deep mourning, enters through the great door +in the back, which opens on a staircase._ + + +SCENE II + +_Marion, the Guards_ + +HALBERDIER (_to Marion_). + +Madame, you cannot enter! + +MARION (_advancing_). + Sir! + +HALBERDIER (_placing his halberd against the door_). + + I say, +No entrance! + +MARION (_with contempt_). + + Here you turn your lance against +A woman. Elsewhere, 'tis in her defense. + +MUSKETEER (_laughing, to Halberdier_). + +Well said! + +MARION (_firmly_). + + I must immediately have audience +With the Duke de Bellegarde. + +HALBERDIER (_lowering his halberd, aside_). + + Ah, these gallants! + +MUSKETEER. + +Enter, madame. + [_She enters with determined step._ + +HALBERDIER (_aside, watching her from the corner of his eye_). + + Well, the old duke is not +As feeble as he looks. This rendezvous +Would have cost him a sojourn in the Louvre, +In former times. + +MUSKETEER (_making sign to Halberdier to keep still_). + + The door is open. + +[_The little gilt door is opened. M. de Laffemas comes out, holding in +his hand a parchment to which a red seal hangs by strands of silk._ + + +SCENE III + +_Marion, Laffemas: gesture of surprise from both. Marion turns +away from him with horror_ + +LAFFEMAS (_low, advancing slowly toward Marion_). + + You! +What is your errand here? + +MARION. + + What's yours? + +LAFFEMAS (_unrolls the parchment and spreads it out before her eyes_). + + Signed by +The King! + +MARION (_glances at it, then buries her face in her hands_). + + Good God! + +LAFFEMAS (_speaking in her ear_). + + Will you? + +[_Marion shivers and looks him in the face; he fixes his eyes on hers: +lowering his voice._ + + Wilt thou? + +MARION (_pushing him away_). + + Away! +Foul tempter! + +LAFFEMAS (_straightening himself up, sneeringly_). + + You will not! + +MARION. + + I have no fear! +The King can pardon: 'tis the King who reigns. + +LAFFEMAS. + +Go try him. See what his good will is worth! + +[_He turns away, then turns back: folds his arms and whispers to her._ + +Beware of waiting until I refuse! + +[_Exits. Duke de Bellegarde enters._ + + +SCENE IV + +Marion, Duke de Bellegarde + +MARION (_going toward Duke de Bellegarde_). + +Here you are captain, my lord duke. + +DUKE DE BELLEGARDE. + + 'Tis you, +My beauty! [_Bowing._ + Speak! What does my queen desire? + +MARION. + +To see the King. + +DUKE DE BELLEGARDE. + + When? + +MARION. + + Now! + +DUKE DE BELLEGARDE. + + This is short notice! +Why? + +MARION. + + For something! + +DUKE DE BELLEGARDE (_bursting into a laugh_). + + We will send for him! +How she goes on! + +MARION. + + Then you refuse me? + +DUKE DE BELLEGARDE. + + Nay! +Am I not yours? Have we refused each other +Anything? + +MARION. + + That's very well, my lord! +When shall I see the King? + +DUKE DE BELLEGARDE. + + After the Duke. +I promise you shall see him when he passes +Through this hall. But while waiting, talk with me! +Ah, little woman, are we good? In black? +Lady-in-waiting you might be. You used +To laugh so much. + +MARION. + + I don't laugh now. + +DUKE DE BELLEGARDE. + + Indeed! +I think she's weeping! Marion! You? + +MARION (_wiping her eyes: with firm tone_). + + My lord, +I want to see his Majesty at once! + +DUKE DE BELLEGARDE. + +For what? + +MARION. + + Just Heaven! For-- + +DUKE DE BELLEGARDE. + + Is it against +The Cardinal? + +MARION. + + It is! + +DUKE DE BELLEGARDE (_opening the gallery for her_). + Please enter here. +I put the discontented all in there; +Do not come out before the signal, please. + [_Marion enters; he shuts door._ +I would have run the risk for my old friend. +It costs no more to do it for them both. + +[_The hall is gradually filled with Courtiers; they talk together. Duke +de Bellegarde goes from one to the other. L'Angely enters._ + + +SCENE V + +_The same. Duke de Beaupreau, Laffemas, Viscount de Rohan, Count +de Charnace, Abbe de Gondi, and other courtiers_ + +DUKE DE BELLEGARDE (_to Duke de Beaupreau_). + +Good-morning, Duke! + +DUKE DE BEAUPREAU. + + Good-morning! + +DUKE DE BELLEGARDE. + + Any news? + +DUKE DE BEAUPREAU. + +There's talk of a new cardinal. + +DUKE DE BELLEGARDE. + + Which one? +The Archbishop of Arle? + +DUKE DE BEAUPREAU. + + No! Bishop of Autun. +All Paris thinks he has obtained the hat. + +ABBE DE GONDI. + +'Tis his by right. He was commander of +Artillery at the siege of La Rochelle. + +DUKE DE BELLEGARDE. + +That's true! + +L'ANGELY. + + The Holy See has my approval. +This one will be a cardinal according +To the canons. + +ABBE DE GONDI (_laughing_). + + L'Angely--the fool! + +L'ANGELY (_bowing_). + +My lord knows all my names. + +[_Laffemas enters; all the Courtiers vie with each other in paying +court to him and surrounding him. Duke de Bellegarde watches them with +vexation._ + +DUKE DE BELLEGARDE (_to_ L'Angely). + + Fool, who's that man +Who wears the ermine cloak? + +L'ANGELY. + + Whom every one +Is paying court to? + +DUKE DE BELLEGARDE. + + Yes. I know him not. +Is he a follower of Monsieur d'Orleans? + +L'ANGELY. + +They would not fawn on him so much. + +DUKE DE BELLEGARDE (_watching Laffemas, who struts about_). + + What airs! +As if he were grandee of Spain! + +L'ANGELY (_low_). + + It is +Sir Laffemas, intendant of Champagne, +Lieutenant-Criminal-- + +DUKE DE BELLEGARDE (_low_). + + Infernal, say! +He's called the Cardinal's executioner? + +L'ANGELY (_still low_). + +The same. + +DUKE DE BELLEGARDE. + + That man at Court! + +L'ANGELY. + + Why not? One extra +Tiger-cat in the menagerie! +Shall I present him? + +DUKE DE BELLEGARDE (_haughtily_). + + Peace, you fool! + +L'ANGELY. + + I think +I'd cultivate him if I were a lord. +Be friendly! Unto each man comes his day. +If he takes not your hand, he may your head. + +[_He seeks Laffemas, presents him to Duke de Bellegarde, who bows +with ill-concealed displeasure._ + +LAFFEMAS (_bowing_). + +Sir Duke! + +DUKE DE BELLEGARDE. + + Sir, I am charmed-- + [_Aside._] Upon my life, +We're fallen low, Monsieur de Richelieu! + [_Laffemas walks away._ + +VISCOUNT DE ROHAN (_bursting into laughter among a group of +Courtiers in the back of the hall_). + +Delightful! + +L'ANGELY. + + What? + +VISCOUNT DE ROHAN. + + That Marion is here. + +L'ANGELY. + +Here--Marion? + +VISCOUNT DE ROHAN. + + We were just saying this: +"Chaste Louis's guest is Marion." How rich! + +L'ANGELY. + +A charming piece of wit, indeed, my lord! + +DUKE DE BELLEGARDE (_to Count de Charnace_). + +Sir wolf-hunter, have you found any prey? +Is hunting good? + +COUNT DE CHARNACE + + There's nothing! Yesterday +I had great expectations, for three peasants +Had been devoured by wolves. At first I thought +We would find several at Chambord. I beat +The woods, but not a wolf, nor trace of one! +[_To L'Angely._] Fool, know you anything that's gay? + +L'ANGELY. + + Nothing, +My lord, except two men will soon be hanged +At Beaugency for dueling. + +ABBE DE GONDI. + + So little, +Bah! [_The small gilt door is opened._ + +AN USHER. + + The King! + +[_The King enters; he is in black, his eyes are cast down. The order +of the Holy Ghost is on his doublet and his cloak. Hat on his head. The +Courtiers all uncover and range themselves, silently, in two rows. The +Guards lower their pikes and present muskets._ + + +SCENE VI + +_The same. The King. The King enters slowly, passes through the +crowd of Courtiers, without lifting his head, stops at front of stage, +and stands for several instants absorbed and silent. The Courtiers +retire to the back of the hall_ + +THE KING. + +All things move on from bad to worse. Yes, all! + [_To Courtiers, nodding his head._ +God keep you, gentlemen! + +[_He throws himself into a large armchair and sighs profoundly._ + + I have slept ill! + [_To Duke de Bellegarde._ +My lord! + +DUKE DE BELLEGARDE (_advancing with three profound salutations_). + + The time for sleeping, sire, is past. + +THE KING (_eagerly_). + +True, Duke! The State is rushing to destruction +With giant strides! + +DUKE DE BELLEGARDE. + + 'Tis guided by a hand +Both strong and wise. + +THE KING. + + He bears a heavy burden, +Our good lord cardinal! + +DUKE DE BELLEGARDE. + + Sire! + +THE KING. + + He is old. +I ought to spare him, but I have enough +To do with living, without reigning! + +DUKE DE BELLEGARDE. + + Sire, +The Cardinal's not old! + +THE KING. + + Pray, tell me frankly-- +No one is watching or is listening here-- +What do you think of him? + +DUKE DE BELLEGARDE. + + Of whom, sire? + +THE KING. + + Him! + +DUKE DE BELLEGARDE. + +His Eminence? + +THE KING. + + Of course! + +DUKE DE BELLEGARDE. + + My dazzled eyes +Can hardly fix themselves-- + +THE KING. + + Is that your frankness? +There is no cardinal here, nor red, nor gray! +No spies! Speak! Why are you afraid? The King +Wants your opinion of the Cardinal. + +DUKE DE BELLEGARDE. + +Entirely frank, sire? + +THE KING. + + Yes, entirely frank. + +DUKE DE BELLEGARDE (_boldly_). + +Well, then, I think him a great man! + +THE KING. + + If needful +You would proclaim it on the house-tops? Good! +Can you not understand? The State, mark me, +Is suffering, because he does it all +And I am nothing! + +DUKE DE BELLEGARDE. + + Ah! + +THE KING. + + Rules he not war +And peace, finances, states? Makes he not laws, +Edicts, mandates, and ordinances too? +Through treachery he broke the Catholic league; +He strikes the house of Austria--friendly +To me--to which the Queen belongs. + +DUKE DE BELLEGARDE. + + Ah, sire, +He lets you keep a vivary within +The Louvre. You have your share. + +THE KING. + Then he intrigues +With Denmark. + +DUKE DE BELLEGARDE. + + But he let you fix the marc +Among the jewelers. + +THE KING (_whose ill-humor increases_). + + He fights with Rome! + +DUKE DE BELLEGARDE. + +He let you issue an edict, alone, +By which a citizen was not allowed +To eat more than a crown's worth at a tavern, +E'en though he wished to. + +THE KING. + + All the treaties he +Concludes in secret. + +DUKE DE BELLEGARDE. + + Yes; but then you have +Your hunting mansion at Planchette. + +THE KING. + + All--all! +He does it all! All with petitions rush +To him! I'm but a shadow to the French! +Is there a single one who comes to me +For help? + +DUKE DE BELLEGARDE. + + Those who have the king's evil come. + +[_The anger of The King increases._ + +THE KING. + +He means to give my order to his brother! +I will not have it! I rebel. + +DUKE DE BELLEGARDE. + + But, sire-- + +THE KING. + +I am disgusted with his people! + +DUKE DE BELLEGARDE. + + Sire! + +THE KING. + +His niece, Combalet, leads a model life. + +DUKE DE BELLEGARDE. + +'Tis slander, sire! + +THE KING. + + Two hundred foot-guards! + +DUKE DE BELLEGARDE. + + But +Only a hundred horse-guards! + +THE KING. + + What a shame! + +DUKE DE BELLEGARDE. + +He saves France, sire. + +THE KING. + + Does he? He damns my soul! +With one arm fights the heathen, with the other +He signs a compact with the Huguenots. + [_Whispering to Duke de Bellegarde._ +Then, if I dared to count upon my hand +The heads--the heads that fall for him at Greve! +All friends of mine! His purple robes are made +Of their hearts' blood! 'Tis he who forces me +To wear eternal mourning. + +DUKE DE BELLEGARDE. + + Treats he his own +More kindly? Did he spare Saint Preuil? + +THE KING. + + He has +A bitter tenderness, they say, for those +He loves. He must love me tremendously! + +[_Abruptly, after a pause, folding his arms._ + +He has exiled my mother! + +DUKE DE BELLEGARDE. + + But he thinks +He does your will. He's faithful. He is firm +And sure. + +THE KING. + + I hate him! He is in my way. +He crushes me! I am not master here-- +Not free! And yet I might be something. Ah, +When he walks o'er me with such heavy tread, +Does he not fear to rouse a slumbering king? +For trembling near me, be it ne'er so high, +His fortune vacillates with every breath +I draw, and all would crumble at a word, +Did I wish loud, what I wish in my heart! + [_A pause._ +That man makes good men bad, and bad men vile! +The kingdom, like the king, already sick, +Grows worse. Without is cardinal, within +Is cardinal; no king is anywhere! +He torments Austria, lets any one +Capture my vessels in Gascony's Bay. +Allies me with Gustavus Adolphus! +What more? I do not know. He's everywhere: +As if he were soul of the king, he fills +My kingdom, and my family, and me. +I am much to be pitied. [Going to window. + Always rain. + +DUKE DE BELLEGARDE. + +Your Majesty is suffering? + +THE KING. + + I am bored. + [_A pause._ +I am the first in France and yet the last! +I'd change my lot to lead a poacher's life-- +To hunt all day; to have no cares to fret +The pleasures of the chase; to sleep 'neath trees; +To laugh at the King's officers, to sing +During the storm; to live as freely in the woods +As birds live in the air. The peasant in +His hut, at least, is master and is king; +But with that scarlet man forever there, +Forever stern and cold, and speaking thus, +"This must be your good pleasure, sire!" Oh, outrage! +This man conceals me from my people's gaze. +As with young children, he hides me beneath +His robe; and when a passer-by asks, "Who +Is that behind the Cardinal?" they say, +"The King!" Then there are new lists every day. +Last week the Huguenots; the duelists +To-day! He wants their heads. Such a great crime-- +A duel! But the heads; what does he do +With them? + +[_Duke de Bellegarde stamps his foot. Enter Marquis de Nangis and +Marion._ + + +SCENE VII + +_The same. Marion, Marquis de Nangis. Marquis de Nangis advances +with his escort to within a few steps of The King; he kneels there. +Marion falls on her knees at the door_ + +MARQUIS DE NANGIS. + + Justice, my sire. + +THE KING. + + Against whom? Speak! + +MARQUIS DE NANGIS. + +Against a cruel tyrant--against Armand, +Called here the cardinal-minister! + +MARION. + + Mercy, +My sire! + +THE KING. + + For whom? + +MARION. + + For Didier! + +MARQUIS DE NANGIS. + + And for him, +Gaspard de Saverny! + +THE KING. + + I've heard those names. + +MARQUIS DE NANGIS. + +Justice and mercy, sire! + +THE KING. + + What title? + +MARQUIS DE NANGIS. + + Sire, +I am uncle of one. + +THE KING. + + And you? + +MARION. + + I'm sister +Unto the other! + +THE KING. + + Why do you come here, +Sister and uncle? + +MARQUIS DE NANGIS (_indicating first one of The King's hands, +then the other_). + + To entreat mercy +From this hand, and justice from that! My sire, +I, William, Marquis de Nangis, Captain +Of Hundred Lances, Baron of Mountain +And Field, do make appeal to my two lords-- +The King of France and God, for justice 'gainst +Armand du Plessis, Cardinal Richelieu. +Gaspard de Saverny, for whom I make +This prayer, is my nephew-- + +MARION (_low to Marquis de Nangis_). + + Oh, speak for both, +My lord! + +MARQUIS DE NANGIS (_continuing_). + + Last month he had a duel with +A captain, a young nobleman, Didier. +Of parentage uncertain. 'Twas a fault. +They were too rash and brave. The minister +Had stationed sergeants-- + +THE KING. + + Yes, I know the story. +Well, what have you to say? + +MARQUIS DE NANGIS. + + That 'tis high time +You thought about these things! The Cardinal-Duke +Has more than one disastrous scheme afoot. +He drinks the best blood of your subjects, sire! +Your father, Henry IV., of royal heart, +Would not have sacrificed his nobles thus! +He never struck them down without dire need! +Well served by them, he sought to guard them well. +He knew good soldiers had more use in them +Than trunkless heads. He knew their worth in war, +This soldier-king whose doublet smelled of battle! +Great days were those. I shared, I honor them! +A few of the old race are living yet. +Never could priest have touched one of those lords. +There was no selling of a great head cheap! +Sire, in these treacherous days to which we've come, +Trust an old man, keep a few nobles by. +Perhaps, in your turn, you will need their help. +The time may come when you will groan to think +Of all the honors lavished on La Greve! +Then, sadly, your regretful eyes will seek +Those lords indomitably brave and true, +Who, dead so long, had still been young to-day. +The country's heart yet pants with civil war; +The tocsin of past years re-echoes yet, +Be saving of the executioner's arm! +He is the one should sheathe his sword, not we! +Be miserly with scaffolds, O my sire! +'Twill be a woful thing some later day +To mourn this great man's help, who hangs to-day +A whitening skeleton on gallows-tree! +For blood, my king, is no good, wholesome dew. +You'll reap no crops from irrigated Greve! +The people will avoid the sight of kings. +That flattering voice which tells you all is well, +Tells you you're son of Henry IV., and Bourbon-- +That voice, my sire, however high it soars, +Can never drown the thud of falling heads! +Take my advice: play not this costly game. +You, King, are bound to look God in the face, +Hark to the words of fate, ere it rebels! +War is a nobler thing than massacre! +'Tis not a prosperous nor joyful State +When headsmen have more work than soldiers have! +He for our country is a pastor hard, +Who dares collect his tithes in slaughtered heads! +Look! this proud lord of inhumanity +Who holds your scepter has blood-covered hands! + +THE KING. + +The Cardinal's my friend! Who loves me must +Love him! + +MARQUIS DE NANGIS. + + Sire! + +THE KING. + + Silence! He's my second self. + +MARQUIS DE NANGIS. + +Sire! + +THE KING. + + Bring no more such griefs to trouble me! + +[_Showing his hair, which is beginning to turn gray._ + +Petitioners like you make these gray hairs! + +MARQUIS DE NANGIS. + +An old man, sire; a woman, sire, who weeps! +A word from you is life or death for us! + +THE KING. + +What do you ask? + +MARQUIS DE NANGIS. + + Pardon for my Gaspard! + +MARION. + +Pardon for Didier! + +THE KING. + + Pardons of a king +Are often thefts from justice! + +MARION. + + Oh, no, sire! +Since God himself is merciful, you need +Not fear! Have pity! Two young, thoughtless men, +Pushed by this duel o'er a precipice +To die! Good God! to die upon the gallows! +You will have pity, won't you? I don't know +How people talk to kings--I'm but a woman; +To weep so much perhaps is wrong. But oh, +A monster is that cardinal of yours. +Why does he hate them? They did naught to him. +He never saw my Didier. All who do +Must love him! They're so young--these two! To die +For just a duel! Think about their mothers. +Oh, it is horrible! You will not do it, sire! +We women cannot talk as well as men. +We've only cries and tears and knees, which bend +And totter as kings turn their eyes on us. +They were in fault, of course! But if they broke +Your law, you can forgive it! What is youth? +Young people are so heedless! For a look, +A word, a trifle, anything or nothing, +They always lose their heads like that! Such things +Are happening every day. Each noble, here, +He knows it. Ask them, sire! Is it not true, +My lords? Oh, frightful hour of agony! +To know with one word you can save two lives! +I'd love you all my life, sire, if you would +Have mercy--mercy, God! If I knew how, +I'd talk so that you'd have to say that word. +You'd pardon them; you'd say, "I must console +That woman, for her Didier is her soul." +I suffocate, sire. Pity, pity me! + +THE KING. + +Who is this woman? + +MARION. + + She's a sister, sire, +Who trembles at your feet. You owe something +Unto your people! + +THE KING. + + Yes! I owe myself +To them, and dueling does grievous harm. + +MARION. + +You should have pity! + +THE KING. + + And obedience, too! + +MARQUIS DE NANGIS. + +Two boys of twenty years! Think of it well! +Their years together are but half of mine! + +MARION. + +Your Majesty, you have a mother, wife, +A son--some one at least who's dear to you! +A brother? Then have pity for a sister! + +THE KING. + +No, I have not a brother! [_Reflects a moment._ + Yes, _Monsieur_! + +[_Perceiving the escort of Marquis de Nangis._ + +Well, my lord marquis, what is this brigade? +Are we besieged, or off to the Crusades? +To bring your guards thus boldly in my sight, +Are you a duke and peer? + +MARQUIS DE NANGIS. + + I'm better, sire, +Than any duke and peer, created for mere show! +I'm Breton baron of four baronies. + +DUKE DE BELLEGARDE (_aside_). + +His pride is great, and here, unfortunate! + +THE KING. + +Good! To your manors carry back your rights, +And leave us ours within our own domain. +We are justiciary! + +MARQUIS DE NANGIS (_shuddering_). + + Sire, reflect! +Think of their age, their expiated fault! + [_Falling on his knees._ +The pride of an old man, who, prostrate, kneels! +Have mercy! + +[_The King makes an abrupt sign of anger and refusal._ + + I was comrade to Henry! +Your father and our father! I was there +When he--that monster--struck the fatal blow. +'Til night I watched beside my royal dead: +It was my duty. I have seen my father +And my six brothers fall 'neath rival factions; +I have lost the wife who loved me. Now +The old man standing here is like a victim +Whom a hard executioner, for sport, +Has bound unto the wheel the whole long day. +My master, God has broken every limb +With His great iron rod! 'Tis night-time now, +And I've received the final blow! Farewell, +My king! God keep you! + +[_He makes a profound obeisance, and exits. Marion lifts herself with +difficulty, and, staggering, falls on the threshold of the gilt door of +The King's private room._ + +THE KING (_to Duke de Bellegarde, wiping his eyes and watching the +retreating figure of Marquis de Nangis_). + + A sad interview! +Ah, not to weaken, kings must watch themselves! +To do right is not easy. I was touched. + +[_Reflects for a moment, then interrupts himself suddenly._ + +No pardoning to-day, for yesterday +I sinned too much! + +[_Approaching Duke de Bellegarde._ + + Before he came, my lord, +You said bold things, which may be bad for you +When I report to my lord cardinal +The conversation we have had. I'm sorry +For you, Duke. In the future, have more care! +I slept so wretchedly, my poor Bellegarde. + +[_With a gesture dismissing Courtiers and Guards._ + +Pray leave us, gentlemen! + [_To L'Angely._] Stay, you! + +[_All go out except Marion, whom The King does not see. Duke de +Bellegarde sees her crouching on the threshold of the door and goes to +her._ + +DUKE DE BELLEGARDE (_low to Marion_). + + My child, +You can't remain here, crouching by this door; +What are you doing like a statue there? +Get up and go away! + +MARION. + + I'm waiting here +For them to kill me! + +L'ANGELY (_low to Duke de Bellegarde_). + + Leave her there, my lord! +[_Low to Marion._] Remain! + +[_He returns to The King, who is seated in the great armchair and is +in a profound reverie._ + + +SCENE VIII + +The King, L'Angely + +THE KING (_sighing deeply_). + + Ah! L'Angely, my heart is sick. +'Tis full of bitterness. I cannot smile. +You, only, have the power to cheer me. Come! +You stand in no awe of my majesty. +Come, throw a glint of pleasure in my soul. + [_A pause._ + +L'ANGELY. + +Life is a bitter thing, your Majesty. + +THE KING. + +Alas! + +L'ANGELY. + + Man is a breath ephemeral! + +THE KING. + +A breath, and nothing more! + +L'ANGELY. + + Unfortunate +Is any one who is both man and king. +Is it not true? + +THE KING. + + A double burden--yes. + +L'ANGELY. + +And better far than life, sire, is the tomb, +If but its gloom is deep enough! + +THE KING. + + I've thought +That always! + +L'ANGELY. + + To be dead or unborn is +The only happiness. Yes, man's condemned! + +THE KING. + +You give me pleasure when you talk like this! + [_A silence._ + +L'ANGELY. + +Once in the tomb, think you one e'er gets out? + +THE KING (_whose sadness has increased with the Fool's words_). + +We'll know that later. I wish I were there! + [_Silence._ +Fool, I'm unhappy! Do you comprehend? + +L'ANGELY. + +I see it in your face so thin and worn, +And in your mourning-- + +THE KING. + + Ah, why should I laugh? +Your tricks are lost on me! What use is life +To you? The fine profession! Jester to the King! +Bell out of tune, a jumping-jack to play with, +Whose half-cracked laugh is but a poor grimace! +What is there in the world for you, poor toy? +Why do you live? + +L'ANGELY. + + For curiosity. +But you--why should you live? I pity you! +I'd sooner be a woman than a king +Like you. I'm but a jumping-jack whose string +You hold; but underneath your royal coat +There's hid a tauter string, a strong arm holds. +Better a jumping-jack in a king's hands +Than in a priest's, my sire. + [_Silence._ + +THE KING (_thinking, growing more and more sad_). + + You speak the truth, +Although you laugh. He is a fearful man! +Has Satan made himself a cardinal? +What if 'twere Satan who possessed my soul! +What say you? + +L'ANGELY. + + I have often had that thought +Myself! + +THE KING. + + We must not speak thus. 'Tis a sin! +Behold, how dire misfortune follows me! +I had some Spanish cormorants. I come +To this place--not a drop of water here +For fishing! In the country! Not a pond +In this accursed Chambord large enough +To drown a flesh-worm! When I wish to hunt-- +The sea! And when I wish to fish--the fields! +Am I unfortunate enough? + +L'ANGELY. + + Your life +Is full of woe. + +THE KING. + + How will you comfort me? + +L'ANGELY. + +Another grief! You hold in high esteem, +And justly too, the art of training hawks +For hunting partridges. A good huntsman-- +You're one--ought to respect the falconer. + +THE KING. + +The falconer! A god! + +L'ANGELY. + + Well! there are two +Who are at point of death! + +THE KING. + + Two falconers? + +L'ANGELY. + +Yes! + +THE KING. + + Who are they? + +L'ANGELY. + + Two famous ones! + +THE KING. + + But who? + +L'ANGELY. + +Those two young men whose lives were begged of you! + +THE KING. + +Gaspard and Didier? + +L'ANGELY. + + Yes; they are the last. + +THE KING. + +What a calamity! Two falconers! +Now that the art is very nearly lost. +Unhappy duel! When I'm dead, this art +Will go from earth, as all things go at last! +Why did they fight this duel? + +L'ANGELY. + + One declared +That hawks upon the wing were not as swift +As falcons. + +THE KING. + + He was wrong. But yet that seems +Scarcely a hanging matter-- [_Silence._ + And my right +Of pardon is inviolable--though +I am too lenient, says the Cardinal! [_Silence._ +[_To L'Angely._] The Cardinal desires their death? + +L'ANGELY. + + He does! + +THE KING (_after pausing and reflecting_). + +Then they shall die! + +L'ANGELY. + + They shall! + +THE KING. + + Poor falconry! + +L'ANGELY (_going to window_). + +Sire, look! + +THE KING (_turns around suddenly_). + + At what? + +L'ANGELY. + + Just look, I beg of you! + +THE KING (_rising and going to the window_). + +What is it? + +L'ANGELY (_indicating something outside_). + + They have changed the sentinel! + +THE KING. + +Well, is that all? + +L'ANGELY. + + Who is that fellow with +The yellow lace? + +THE KING. + + No one--the corporal! + +L'ANGELY. + +He puts a new man there. What says he, low? + +THE KING. + +The password! Fool! What are you driving at? + +L'ANGELY. + +At this: Kings act the part of sentinels. +Instead of pikes, a scepter they must bear. +When they have strutted 'round their little day, +Death comes--the corporal of kings--and puts +Another scepter-bearer in their place, +Speaking the password which God sends, and which +Is clemency. + +THE KING. + + No, it is justice. Ah, +Two falconers! It is a frightful loss! +Still, they must die. + +L'ANGELY. + + As you must die, and I. +Or big or little, death has appetite +For all. But though they've not much room, +The dead sleep well. The Cardinal annoys +And wearies you. Wait, sire! A day, a month, +A year; when we have played as long as needful-- +I, my own part of fool; you, king; and he, +The master--we will go to sleep. No matter +How proud or great we are, no one shall have +More than six feet of territory there. +Look! how they bear his lordly litter now! + +THE KING. + +Yes, life is dark; the tomb alone is bright. +If you were not at hand to cheer me up-- + +L'ANGELY. + +Alas! I came to-day to say farewell. + +THE KING. + +What's that? + +L'ANGELY. + + I leave you! + +THE KING. + + You're a crazy fool! +Death, only, frees from royal service. + +L'ANGELY. + + Well, +I am about to die! + +THE KING. + + Have you gone mad? + +L'ANGELY. + +You have condemned me--you, the King of France! + +THE KING. + +If you are joking, fool, explain yourself. + +L'ANGELY. + +I shared the duel of those two young men-- +At least my sword did, sire, if I did not. +I here surrender it. + +[_Draws his sword and, kneeling, presents it to The King._ + +THE KING (_takes it and examines it_). + + Indeed, a sword! +Where does it come from, friend? + +L'ANGELY. + + We're noble, sire! +The guilty are not pardoned. I am one. + +THE KING (_somber and stern_). + +Good night, then! Let me kiss your neck, poor fool, +Before they cut it off. [_Embraces L'Angely._ + +L'ANGELY (_aside_). + + He's in dead earnest! + +THE KING (_after a pause_). + +For never does a worthy king oppose +The course of justice. But you claim too much, +Lord Cardinal--two falconers and my fool! +All for one duel! + +[_Greatly agitated, he walks up and down with his hand on his forehead. +Then he turns to L'Angely, who is most anxious._ + + Go! console yourself! +Life is but bitterness, the tomb means rest. +Man is a breath ephemeral. + +L'ANGELY (_aside_). + + The devil! + +[_The King continues to pace the floor and appears violently +agitated._ + +THE KING. + +And so, you think you'll have to hang, poor fool! + +L'ANGELY (_aside_). + +He means it! God! I feel cold perspiration +Starting upon my brow. + [_Aloud._] Unless a word +From you-- + +THE KING. + + Whom shall I have to make me laugh? +If you should rise from out the tomb, come back +And tell me all about it. 'Tis a chance! + +L'ANGELY. + +The errand is a pleasant one! + +[_The King continues to walk rapidly, speaking to L'Angely now and +then._ + +THE KING. + + What triumph +For my lord cardinal--my fool! + [_Folding his arms._ + Think you +I could be master if I wished to be? + +L'ANGELY. + +Montaigne would say, "Who knows?" And Rabelais, +"Perhaps." + +THE KING (_with gesture of determination_). + + Give me a parchment, fool. + +[_L'Angely eagerly hands a parchment which he finds on the table near +the writing-desk. The King hastily writes a few words, then gives the +parchment back to L'Angely._ + + Behold! +I pardon all. + +L'ANGELY. + + All three? + +THE KING. + + Yes. + +L'ANGELY (_running to Marion_). + + Come, madame, +Come, kneel, and thank the King. + +MARION (_falling on her knees_). + + We have the pardon? + +L'ANGELY. + +Yes! It was I-- + +MARION. + + Whose knees must I embrace-- +His Majesty's or yours? + +THE KING (_astonished, examining Marion: aside_). + + What does this mean? +Is this a trap? + +L'ANGELY (_giving parchment to Marion_). + + Here is the pardon. Take it! + +[_Marion kisses it, and puts it in her bosom._ + +THE KING (_aside_). + +Have I been duped? + [_To Marion._] One instant! Give it back! + +MARION. + +Good God! + +[_To The King, with courage, touching her breast._ + + Come here and take it, and tear out +My heart as well! + +[_The King stops and steps backward, much embarrassed._ + +L'ANGELY (_low to Marion_). + + Good! Keep it, and be firm! +His Majesty won't take it, there! + +THE KING (_to Marion_). + + Give it +To me! + +MARION. + + Take it, my sire! + +THE KING (_casting down his eyes_). + + Who is this siren? + +L'ANGELY (_low to Marion_). + +He wouldn't touch the corset of the Queen! + +THE KING (_after a moment's hesitation, dismisses Marion with +a gesture without looking at her_). + +Well, go! + +MARION (_bowing profoundly to The King_). + + I'll fly to save the prisoners! [_Exits._ + +L'ANGELY (_to The King_). + +She's sister to Didier, the falconer. + +THE KING. + +She can be what she will. It's very strange, +The way she made me drop my eyes! Made me, +A man-- [_Silence._ + Fool, you have played a trick on me! +I'll have to pardon you a second time. + +L'ANGELY. + +Yes, do it! Every time they grant a pardon, +Kings lift a dreary weight from off their hearts. + +THE KING. + +You speak the truth. I always suffer when +La Greve holds court. Nangis was right: the dead +Serve nobody. To fill Montfaucon +I make a desert of the Louvre! + [_Walking rapidly._ + 'Tis treason +To strike my right of pardon out, before +My face. What can I do? Disarmed, dethroned, +And fallen: in this man absorbed, as in +A sepulcher! His cloak becomes my shroud: +My people mourn for me as for the dead. +I am resolved: those two boys shall not die! +The joy of living is a heavenly gift. + [_After reflection._ +God, who knows where we go, can ope the tomb; +A king cannot. Back to their families +I give them; that old man, that fair young girl, +Will bless me. It is said: I've signed it--I, +The King. The Cardinal will be furious, +But it will please Bellegarde. + +L'ANGELY. + + One can, sometimes, +Be kingly by mistake. + + + + +_ACT V_ + +THE CARDINAL + +Scene.--_Beaugency. The tower of Beaugency. A courtyard; the tower in +the background, all around a high wall. To the left, a tall arched door; +to the right, a small rounded door in the wall; near the door a stone +table and stone bench_ + + +SCENE I + +_Some Workmen. They are pulling down a corner of the back wall on the +left. The demolition is almost completed_ + +FIRST WORKMAN (_working with his pickax_). + + It's very hard! + +SECOND WORKMAN (_working_). + +Deuce take this heavy wall we're pulling down! + +THIRD WORKMAN (_working_). + +Saw you the scaffold, Peter? + +FIRST WORKMAN. + + Yes, I did. + +[_He goes to the large door and measures it._ + +The door is narrow; never will the litter +Of the Lord Cardinal go through it. + +THIRD WORKMAN. + + Bah! +Is it a house? + +FIRST WORKMAN (_with affirmative gesture_). + + With great long curtains. Yes. +It takes some four and twenty men on foot +To carry it. + +SECOND WORKMAN. + + I saw the great machine, +One night when it was very dark. It looked +Just like Leviathan in shadow-land. + +THIRD WORKMAN. + +What does he come here with his sergeants for? + +FIRST WORKMAN. + +To see the execution of those two young men. +He's sick. He needs to be amused. + +SECOND WORKMAN. + + To work! + +[_They resume work; the wall is about torn down._ + +Saw you the scaffold, all in black? That comes +Of being noble! + +FIRST WORKMAN. + + They have everything. + +SECOND WORKMAN. + + I wonder +If they would build a black scaffold for us. + +FIRST WORKMAN. + +What have those young men done that they should die? +Hein? Do you understand, Maurice? + +THIRD WORKMAN. + + I don't. +It's justice. + +[_They continue their work. Laffemas enters; The Workmen are silent. +He comes from the back as though he were coming from an inside court of +the prison; stops beside The Workmen, appears to examine the breach, +and gives them some directions. When the space is opened, he orders +them to hang black cloth across it, which covers it entirely; then he +dismisses them. At almost the same moment Marion appears, dressed in +white, and veiled; she enters through the great door, crosses the court +rapidly, and runs to the grating of the small door, at which she knocks. +Laffemas follows slowly in the same direction. The grating is opened; +The Turnkey appears._ + + +SCENE II + +Marion, Laffemas + +MARION (_showing a parchment to The Turnkey_). + + Order of the King! + +THE TURNKEY. + + You can't +Enter, madame. + +MARION. + + What! + +LAFFEMAS (_presenting a paper to The Turnkey_). + + Signed, the Cardinal! + +THE TURNKEY. + +Enter. + +[_When about to enter, Laffemas turns, looks at Marion a moment, +then approaches her. The Turnkey shuts the door._ + +LAFFEMAS (_to Marion_). + + You here? This questionable place! + +MARION. + +I am. [_Triumphantly showing the parchment._ + I have the pardon! + +LAFFEMAS (_showing his_). + + Yes? I have +The revocation! + +MARION (_with a cry of horror_). + + Mine was yesterday-- +The morning! + +LAFFEMAS. + + Mine, last night! + +MARION (_with hands over her eyes_). + + My God! No hope! + +LAFFEMAS. + +Hope is a flash of lightning which deceives. +The clemency of kings is a frail thing; +It comes with lagging steps and goes with wings. + +MARION. + +The King was moved with pity for their fate! + +LAFFEMAS. + +What can the King against the Cardinal? + +MARION. + +Oh, Didier, our last hope's extinguished now! + +LAFFEMAS (_low_). + +Not--not the last! + +MARION. + + Just Heaven! + +LAFFEMAS (_drawing near to her_). + + There is here +A man whom one short word from you could make +Happier than any king, and mightier too! + +MARION. + +Away! + +LAFFEMAS. + + Is that your answer? + +MARION (_haughtily_). + + I beg you! + +LAFFEMAS. + +How fleeting are the whims of the fair sex! +You were not always, madame, so severe! +Now that 'tis question of your lover's life-- + +MARION (_without looking at him, turning to the small door, +her hands clasped_). + +If it would save your life, I could not go +Back to that infamy. My soul's grown pure +At touch of you, my Didier; sin is shamed. +Your love gives back my lost virginity. + +LAFFEMAS. + +Well, love him! + +MARION. + + Ah, he pushes me from crime +To vice! Oh, monster, go! Let me keep pure! + +LAFFEMAS. + +There is but one thing left for me to do! + +MARION. + +What is it? + +LAFFEMAS. + + I can show you--let you see. +It is to-night. + +MARION (_trembling all over_). + + Oh, heaven! this night! + +LAFFEMAS. + + This night +The Cardinal, in litter, will attend. + +[_Marion is buried in a deep and painful reverie. Suddenly she passes +her two hands over her brow and turns, as if wild, toward Laffemas._ + +MARION. + +How could you manage their escape? + +LAFFEMAS (_low_). + + You mean? +Two of my men could guard this place, by which +The Cardinal passes-- + [_He listens at the small door._ + I think some one comes! + +MARION (_wringing her hands_). + +You'll save him? + +LAFFEMAS. + + Yes. + [_Low._] To tell you in this place-- +The walls have echoes--elsewhere. + +MARION (_with despair_). + + Come! + +[_Laffemas goes toward the large door and signs to her to follow. She +falls on her knees, turned toward the grating of the prison; then she +arises with a convulsive effort and disappears through the great door +after Laffemas. Saverny and Didier enter, surrounded by Guards._ + + +SCENE III + +_Didier, Saverny. Saverny, dressed in the latest fashion, enters +gayly and petulantly. Didier is in black, walks slowly, is very pale. +A jailer accompanied by Halberdiers conducts them. The Jailer places +the two Halberdiers as sentinels beside the black curtain. Didier +sits, silently, on the stone bench_ + +SAVERNY (_to The Jailer, who opens the door for him_). + + Thank you. +The air is very good! + +THE JAILER (_low, and drawing him aside_). + + My lord, two words with you. + +SAVERNY. + +Four, if you like. + +THE JAILER (_lowering his voice still more_). + + Will you escape? + +SAVERNY (_eagerly_). + + Speak! How? + +THE JAILER. + +That's my affair. + +SAVERNY. + +Truly? [_The Jailer nods his head._ + Lord Cardinal, +You meant to keep me from attending balls, +But it appears I am to dance again. +The pleasant thing that life is! + [_To The Jailer._] When, my friend? + +THE JAILER. + +To-night, as soon as it is dark. + +SAVERNY. + + My faith! +I shall be charmed to leave these quarters. Whence +Comes this assistance? + +THE JAILER. + + Marquis de Nangis. + +SAVERNY. + +My good old uncle! + [_To The Jailer._] 'Tis for both, I hope! + +THE JAILER. + +I can save only one! + +SAVERNY. + + For twice as much? + +THE JAILER. + +I can save only one! + +SAVERNY (_tossing his head_). + + Just one? + [_Low to The Jailer._] Then listen; +Good jailer, that's the one to save! + [_Indicating Didier._ + +THE JAILER. + + You jest! + +SAVERNY. + +I do not! He's the one! + +THE JAILER. + + What an idea! +Your uncle wants to save you, not save him. + +SAVERNY. + +It's settled? Then prepare two shrouds at once. + +[_Turns his back on The Jailer, who goes out, astonished. A +Registrar enters._ + +We can't be left alone an instant--strange! + +REGISTRAR (_saluting the prisoners_). + +The royal councilor of the Great Chamber +Is close at hand. + [_Salutes them again and exits._ + +SAVERNY. + + 'Tis well! [_Laughing._ + Annoying luck! +Twenty years old--September--and to die +Before October! + +DIDIER (_motionless at front of stage, holding the portrait in his +hand, and as if absorbed in a deep study of it_). + + Come, look at me well! +Eyes in my eyes: thus. You are beautiful! +What radiant grace! Hardly a woman, you! +No: much more like an angel. God Himself +When He formed that divinely honest look +Put much fire in it but more chastity. +That childish mouth, pushed open by sweet hopes, +Throbs with its innocence. + +[_Throwing the portrait violently to the ground._ + + Why did that peasant +Take me unto her breast? Why not have dashed +My head against the stones? What did I do +Unto my mother to be cursed with birth? +Why, in that misery, it may be crime, +Which forced her to abandon her own blood, +Had she not motherhood enough to choke +Me in her arms? + +SAVERNY (_returning from back of court_). + + The swallows fly quite low; +'Twill rain to-night. + +DIDIER (_without hearing him_). + + A faithless, a mad thing, +A woman is: inconstant, cruel, deep, +And turbulent as is the ocean. Ah, +Upon that sea I trusted all my fortune! +In all the vast horizon saw one star! +Well! I am shipwrecked! Nothing's left but death. +Yet I was born good-hearted: might have found +The spark divine within me by-and-by. +Fair looked the future! Oh, remorseless woman, +Did you not shrink in face of such a lie, +Since to your mercy I trusted my soul? + +SAVERNY. + +Forever Marion! You've strange ideas +About her! + +DIDIER (_without heeding him, picks up the picture and fixes his eyes +upon it_). + + Down 'mongst the degraded things +I must throw you, oh, woman who betrays! +A demon, with eyes touched by angels' wings. + [_Puts it back into his breast._ +Come back; here is your place! + [_Approaching Saverny._] A curious thing! +That portrait is alive; I do not jest. +While you were sleeping there so peacefully +It gnawed my heart all night. + +SAVERNY. + + Alas! poor friend. +We'll talk of death. + [_Aside._] It comforts him, although +I find it rather sad. + +DIDIER. + + What did you say? +I have not listened. Since I heard that name +I have been stupefied. I cannot think: +I can't remember, cannot hear nor see! + +SAVERNY (_taking hold of his arm_). + +Death, friend! + +DIDIER (_joyfully_). + + Oh, yes! + +SAVERNY. + + Let's talk about it. + +DIDIER. + + Yes! + +SAVERNY. + +What is it, after all? + +DIDIER. + + Did you sleep well +Last night? + +SAVERNY. + + No, badly, for my bed was hard. + +DIDIER. + +When you are dead, your bed will be much harder, +But you will sleep extremely well--that's all. +They've made hell splendidly; but by the side +Of life, it's nothing. + +SAVERNY. + + Good! My fears are gone! +But to be hanged! That certainly is bad. + +DIDIER. + +You're getting death; don't be an egotist. + +SAVERNY. + +You can be satisfied; but I am not. +I'm not afraid of death--that is no boast-- +When death is death, but on the gallows! + +DIDIER. + + Well, +Death has a thousand forms--gallows are one. +That moment is not pleasant when the rope +Puts out your life as one puts out a flame, +Choking your throat to let your soul fly up; +But, after all, what matter? If all's dark, +If only all this earth is hidden well, +What matter if a tomb lies on one's breast? +What matter if the night-winds howl and blow +About the strings of flesh crows tore from you +When you were on the gibbet? What care you? + +SAVERNY. + +You're a philosopher. + +DIDIER. + + Yes, let them rave. +Let vultures tear my flesh, let worms consume, +As they consume all, even kings; my body +Is what's concerned, not I. What do I care? +When sepulchers shut down our mortal eye, +The soul lifts up the mighty mass of stone +And flies away-- + +[_A Councilor enters, preceded and followed by Halberdiers in black._ + + +SCENE IV + +_The same. Councilor of the Great Chamber, in full dress, The +Jailer, Guards_ + +THE JAILER (_announcing_). + + The Councilor of the King! + +COUNCILOR (_saluting Saverny and Didier in turn_). + +My mission's painful and the law severe-- + +SAVERNY. + +I understand: there is no hope! Speak, sir! + +COUNCILOR (_unfolds a parchment and reads_). + +"We, Louis, King of France and of Navarre, +Reject appeals made by these men condemned, +But moved by pity, change the punishment +And order them beheaded." + +SAVERNY (_joyfully_). + + God be praised! + +COUNCILOR (_saluting them once more_). + +You are to hold yourselves in readiness; +It will take place to-day. + [_He salutes and prepares to exit._ + +DIDIER (_who has remained in the same thoughtful attitude, to Saverny_). + + As I was saying, +After this death, although the corpse be mangled, +Though every limb be stamped with hideous wounds, +Though arms be twisted, broken every bone, +Though through the mire the body has been dragged, +From out that putrid, bleeding, awful flesh +The soul shall rise, unstained, untouched, and pure. + +COUNCILOR (_coming back, to Didier_). + +'Tis well to occupy yourselves with such +Great thoughts. + +DIDIER (_gently_). + + Please do not interrupt me, sir. + +SAVERNY (_gayly to Didier_). + +No gallows! + +DIDIER. + + Order of the fete is changed, +I know. The Cardinal travels with his headsman, +And he must be employed; the ax will rust. + +SAVERNY. + +You're cool about it, yet the stake is great. +[_To The Councilor._] Thank you for such good news. + +COUNCILOR. + + I wish 'twere better! +Good sir, my zeal-- + +SAVERNY. + + Excuse me. What's the hour? + +COUNCILOR. + +At nine o'clock to-night. + +DIDIER. + + I hope the sky +Will be as dark as is my soul. + +SAVERNY. + + The place? + +COUNCILOR (_indicating the neighboring court_). + +Here in the court. The Cardinal will come. + +[_Councilor exits with his escort. The two prisoners remain alone. Day +begins to fade. The halberds of the two sentinels, who silently +promenade before the breach, are all that can be seen._ + +DIDIER (_solemnly, after a pause_). + +At this portentous hour we must reflect +Upon the fate awaiting us. Our years +Are equal, though I'm older far than you. +It is but just, therefore, that mine should be +The voice to cheer and to exhort you, since +I am the cause of all your misery. +'Twas I who challenged you. You were content +And happy: 'twas enough for me to pass +Across your life to ruin it. My fate +Pressed down upon yours 'til it crushed it. Now, +Together, we are soon to face the tomb. +We'll take each other's hand-- + [_Sound of hammering._ + +SAVERNY. + + What is that noise? + +DIDIER. + +It is our scaffold which they're building, or +Our coffins they are nailing. + +[_Saverny sits on the stone bench._ + + When the hour +Has tolled, sometimes the heart of man gives way. +Life holds us in a thousand secret ways. + [_A bell strikes._ +I think a voice is calling to us. Hark! + [_Another bell._ + +SAVERNY. + +The hour is striking. + [_A third bell._ + +DIDIER. + + Yes, the hour! + [_A fourth bell._ + +SAVERNY. + + In chapel! + [_Four more bells._ + +DIDIER. + +It is a voice that calls us, just the same. + +SAVERNY. + +Another hour! + +[_He leans his elbows on the stone table and drops his head on his +hands. The Guard is changed._ + +DIDIER. + + My friend, do not give way! +Don't falter on this threshold we must cross. +The tomb they're fitting up for us is low, +And won't permit the entrance of a head. +Let's go to meet them with a fearless tread. +The scaffold can afford to shake, not we. +They claim our heads; and since no fault is ours, +We'll bear them proudly to the fatal block. + +[_Approaches Saverny, who is motionless._ + +Courage! + +[_Touches his arm and finds he is asleep._ + + Asleep! While I've been preaching courage +This man has slept! What is my bravery +Compared to his? Sleep on, you who can sleep. +My turn will come--provided all things die, +That nothing of the heart survives within +The tomb, to hate what it has loved too much. + +[_It is night. While Didier has become absorbed in his thoughts, +Marion and The Jailer enter through the opening in the wall; The +Jailer precedes her. He carries a dark-lantern and a bundle, both of +which he places on the ground, then advances cautiously toward Marion, +who has remained standing on the threshold, pale, motionless, +half-wild._ + + +SCENE VI + +[The scenes are mis-numbered in the book and skip from the number IV +to the number VI in Act V. (note of etext transcriber)] + +_The same._ Marion, The Jailer + + +THE JAILER (_to Marion)._ + +Be sure to come at the appointed hour. + +[_Goes up stage; during the rest of this scene he continues to walk up +and down at the back._ + +MARION (_advances with tottering steps as if absorbed in some +desperate thought. Every now and then she draws her hand across +her face as if to rub off something_). + +His lips, like red-hot iron, have branded me! + +[_Suddenly she discovers Didier, gives a cry, runs and throws herself +breathless at his feet._ + +Didier--Didier! + +DIDIER (_roused with a start_). + + Here, Marion! My God! +[_Coldly._] 'Tis you? + +MARION. + + Who should it be? Oh, leave me here-- +Here at your feet! It is the place I love! +Your hands, your dear loved hands, give them--your hands! +Oh, they are wounded! Those harsh chains did that. +The wretched creatures! But I'm here--you know-- +Oh, it is terrible! [_She weeps; her sobs are audible._ + +DIDIER. + + Why do you weep? + +MARION. + +Why? Didier, I'm not weeping! No, I laugh! + [_She laughs._ +We'll soon escape from here! I laugh. I'm happy. +You will live; the danger's passed. + +[_She falls again at Didier's feet and sobs._ + + My God! +All this is killing me! I'm broken--crushed. + +DIDIER. + +Madame-- + +MARION (_rises, without hearing him, and gets the bundle and brings +it to him_). + + Now hurry! We have not much time! +Take this disguise. I've bribed the sentinels. +We'll leave Beaugency without being seen. +Go down that street, at the wall's end, out there! +The Cardinal will come to see them execute +His orders; we can't lose an instant now. +The cannon will be fired when he arrives, +And we'll be lost if we should still be here. + +DIDIER. + +'Tis well! + +MARION. + + Quick! hurry! Didier, you are saved! +To be free! Didier, how I love you--God! + +DIDIER. + +You say a street where the wall ends? + +MARION. + + I do. +I saw it. I've been there. It is quite safe. +I saw them close up the last window, too. +It may be we shall meet some women, but +They'll think you're just a passer-by. Come, love; +When you are far off--please put on these things-- +We'll laugh to see you thus disguised. Come, dear! + +DIDIER (_pushing the clothes aside with his foot_). + +There is no hurry. + +MARION. + + Death waits at the door. +Fly! Didier! Since I've come! + +DIDIER. + + Why did you come? + +MARION. + +To save you! What a question to ask me! +Why such a freezing tone? + +DIDIER (_with a sad smile_). + + Ah, well! We men +Are often senseless. + +MARION. + + We are losing time. +The horses wait. What you have in your mind, +You'll tell me afterward. We must fly now. + +DIDIER. + +Who is that man there watching us? + +MARION. + + The jailer. +He's safe; I bribed him, as I did the guard. +Do you suspect them? You have such an air. + +DIDIER. + +It's nothing. We're so easily deceived. + +MARION. + +Come! Each lost moment chills me to the heart. +I seem to hear the tread of that great crowd. +Hasten, my Didier--on my knees--oh, fly! + +DIDIER (_indicating Saverny, asleep_). + +Tell me which one of us you want to save. + +MARION (_overcome for a moment_). + +[_Aside._] Gaspard is generous: he would not tell. +[_Aloud._] Does Didier speak to his beloved thus? +My Didier, what have you against me? + +DIDIER. + + Naught. +Lift up your face and look me in the eyes. + +[_Marion, trembling, fixes her eyes on him._ + +It is a perfect likeness! Yes. + +MARION. + + My love, +I worship you, but come! + +DIDIER. + + Don't turn away! + [_He looks at her fixedly._ + +MARION (_terrified at his look_). + +[_Aside._] The kisses of that man, he sees them! God! +[_Aloud._] You have a secret, something against me! +It hurts you! Tell me all about it, dear. +You know we often make things worse by thinking, +And too late find it out; then we regret. +I had my share in all your thoughts, love, once! +Speak, are those days for evermore gone by? +Do you not love me now? Have you forgot +My little room at Blois? Forgotten how +We loved each other, till the world was lost? +Sometimes you grew uneasy; then I said, +"If any one should see him!" Oh, 'twas fine! +But one day has destroyed it all. You've said +A thousand times, in words that burned my soul, +I was your love, I knew your secrets, I +Could make you anything I chose. What have +I ever asked? I've always thought with you! +This time, oh, yield to me! It is your life +I'm pleading for. My Didier, hark to me. +Alive or dead, I swear to follow you. +All things with you, love, will be sweet to me-- +To fly, or die upon the scaffold. What! +You push me back? You shall not! Leave your hand, +I want it. My poor brow, it does no harm +To rest it on your knees. I am so tired; +I ran so fast to come! What would they say, +The people I knew once, to see me now? +I was so gay, so merry; now I weep! +What is it that you have against me? Speak! +Oh, shame! You must let me lie at your feet. +It's very cruel of you not to say +One single word. When we have thoughts, we speak! +'Twould be more merciful to stab me, love! +See, I have dried my tears, and I am smiling. +You smile too. Oh, if you don't smile at me, +I will not love you! I have always done +Just what you wanted; now it is your turn. +These chains are what have chilled your soul. Love, smile +And speak to me, and say "Marie." + +DIDIER. + + "Marie" +Or "Marion"? + +MARION (_falls annihilated at his feet_). + + Didier, be merciful! + +DIDIER (_with terrible tone_). + +Here, no one finds an entrance easily. +Prisons of state are guarded night and day, +The doors are iron, walls twenty cubits high; +To open these remorseless doors, madame, +To whom here did you prostitute yourself? + +MARION. + +Who told you? + +DIDIER. + + No one; but I understand. + +MARION. + +Didier, I swear by every hope divine +It was to save you, tear you from this place; +To melt the executioner--to save you-- +Don't you hear? + +DIDIER (_folding his arms_). + + I thank you! To descend +As low as that! To have no shame, no soul! +Oh, madame! can one be so infamous? + +[_Crossing the court with a great cry of rage._ + +Who is this trader in disgrace and vice, +Who puts a price like that upon my head? +Where is the jailer, where the judge, the man?-- +That I may crush him as I crush this thing. + +[_He is about to break the portrait in his hands, but he stops, and +beside himself, continues._ + +The judge? Yes, gentlemen, make laws and judge! +What matters it to me if the false weight +Which swings your vile scales to this side or that +Be made of woman's honor or man's life? +[_To Marion._] Go to your lover! + +MARION. + + Do not treat me thus! +Another word of scorn and I fall dead +Here at your feet. If ever love was true +And strong and pure, mine was. If any man +Was ever worshiped by a woman, you +Have been by me. + +DIDIER. + + Hush! Do not speak! I might, +For sorrow, have been born a woman too. +I might have been as infamous as you. +I might have sold myself, have given my breast +To any passer-by, as place for rest. +But if there came to me, in his frank way, +An honest man, filled with the love of truth, +If I had met a heart insane enough +To keep its vain illusions all these years, +Oh, sooner than not tell that honest man +"I'm this," sooner than charm and dazzle him, +Sooner than fail to warn him that my eyes +So candid and my lips so pure were lies, +Sooner than be perfidious and base like that, +I'd want to dig my grave with my own hands. + +MARION. + +O God! + +DIDIER. + + How you would laugh if you could see +The picture that my heart painted of you! +How wise you were to shatter it, madame! +There you were chaste and beautiful and pure! +What injury has this poor man done you, +Who loved you on his bended knees? + +[_Presenting portrait to her._ + + Perhaps +This is a fitting time to give you back +This pledge of love ardent and true. + +MARION (_turning away with a cry_). + + Oh, shame! + +DIDIER. + +Did you not have it painted just for me? + +[_He laughs, and dashes the locket to the ground._ + +MARION. + +Will some one, out of pity, kill me now? + +THE JAILER. + +Time's passing. + +MARION. + + Yes, it flies; and we are lost. +Didier, I've not the right to say a single word. +I am a woman to whom naught is due. +You have rebuked and cursed me: you did well! +I merit still more hate and shame. You've been +Too kind; my broken, bruised heart is grateful. +But the remorseless hour draws near. Away! +The headsman you forget, remembers you. +I've planned it all. You can escape. Now, listen-- +My God! do not refuse. You know how much +It costs me. Hate me, strike me, curse me, leave +Me to my shame, disown me, walk upon +My bleeding heart--but fly! + +DIDIER. + + Fly where? From whom? +There's naught but you to fly from in this world; +And I escape you, for the grave is deep. + +THE JAILER. + +The hour is passing. + +MARION. + + O my Didier, fly! + +DIDIER. + +I will not! + +MARION. + + Just for pity! + +DIDIER. + + Pity! why? + +MARION. + +To see you taken, bound! To see you--_there_! +Only to think it makes me die of horror! +Come! I will be a servant unto you. +Come! Take me, when I have redeemed myself, +Just to have something underneath your feet. +The one you called "a wife" in times of trial-- + +DIDIER. + +A wife! [_Cannon sounds in the distance._ + This makes of you a widow, then! + +MARION. + +Didier! + +THE JAILER. + + The hour is past. + +[_Rolling of drums. Enter Councilor of the Great Chamber, accompanied +by penitents bearing torches, and by Executioner. A crowd of soldiers +and people follow._ + +MARION. + + Ah, Christ! + + +SCENE VII + +_The same. Councilor, Executioner, Populace, Soldiers_ + +COUNCILOR. + + I'm ready, +Gentlemen! + +MARION (_to Didier_). + + I told you that he'd come! + +DIDIER (_to Councilor_). + +We're ready also. + +COUNCILOR. + + Which is named Gaspard, +Marquis de Saverny? + +[_Didier points to Saverny, who is asleep._ + +[_To Executioner._] Awaken him! + +EXECUTIONER (_shaking him_). + +How well he sleeps, my lord! + +SAVERNY (_rubbing his eyes_). + + Ah, how could you +Break in on such a pleasant sleep! + +DIDIER. + + 'Tis only +Interrupted, friend! + +SAVERNY (_half awake: sees Marion and salutes her_). + + Oh, I was dreaming +About you, my beauty! + +COUNCILOR. + + Have you made +Your peace with God? + +SAVERNY. + + I have, sir. + +COUNCILOR. + + It is well. +Please sign this paper! + +SAVERNY (_takes the parchment, runs over it_). + + 'Tis the _proces-verbal_. +Good! This is a most curious thing--account +Of my own death, signed with my autograph! + +[_Signs, and reads the paper again: to Councilor._ + +You have made three mistakes in spelling, sir. + +[_Takes the pen and corrects them. To Executioner._ + +You have awakened me; put me to sleep! + +COUNCILOR (_to Didier_). + +Didier! + +[_Didier approaches: Councilor gives pen to him._ + + Your name is there. + +MARION (_hiding her eyes_). + + The grewsome thing! + +DIDIER. + +I could sign nothing with intenser joy! + +[_The Guards form themselves into a line to lead them away._ + +SAVERNY (_to some one in the crowd_). + +Sir, step aside and let that young child see! + +DIDIER (_to Saverny_). + +My brother, 'tis for me you suffer death; +Let us embrace each other! [_He embraces Saverny._ + +MARION (_running to him_). + + And for me +No kisses, Didier! + +DIDIER (_indicating Saverny_). + + This is my friend, madame! + +MARION (_clasping her hands_). + +How hard you are upon me, a poor thing, +Who always on my knees to king or judge +Have begged mercy for you from every one! +Pardon of them for you; pardon of you for me! + +DIDIER (_rushes to Marion, trembling, and bursting into tears_). + +No, I cannot! The torture's horrible! +No, I have loved too much to leave her so! +It is too hard to keep a cold, impassive face +When underneath the heart is breaking down. +Come to my arms, oh, woman, come! + +[_Presses her convulsively to his heart._ + + I love you! +I'm about to die. Before them all, +It is my loftiest joy to tell you this: +I love you! + +MARION. + + Didier! + +[_Embraces her again with rapture._ + + To my heart, oh, come! +You who behold this direful tragedy, +I wonder if there's one of you who would +Refuse love unto one who'd given herself +Entirely and unceasingly to him? +Oh, I was wrong! Say, would you have me face +Eternity without a pardon from +Her lips? No! Stand by me and listen, love: +Among all womankind--and those who hear +Will prove me right by their own hearts--the one +I love, the one in whom I trust, the one +I venerate is you--is always you! +For you were kind, devoted, loving, good. +My life is almost ended. When death's near +A clearer light illuminates all things. +If you deceived me, 'twas excess of love; +And if you fell, have you not cruelly atoned? +Perhaps your mother--life's so hard--forgot +You in your cradle, as my mother did; +When you were young and helpless, perhaps they sold +Your innocence. Ah, lift up your white brow! +And listen, all of you. At such an hour +The earth is a mere shadow and the heart +Speaks true. Well, at this moment, from the height +Of the dread scaffold--and there's naught so high +When guiltless souls ascend it--here, +I say to you, Marie, angel of light, +Whose luster earth has dimmed, my love, my wife, +In God's name, before whom I soon shall stand, +I pardon you. + +MARION (_suffocated with tears_). + + Ah, Christ! + +DIDIER. + + It is your turn. +Speak now, and pardon me! + [_He kneels before her._ + +MARION. + + Didier! + +DIDIER. + + Your pardon, +Love! I was the most at fault, the most +Unkind. God has chastised you much through me. +Weep for me when I'm gone, because to have +Hurt you is such a burden to take hence +Into eternity. Don't leave it on me; +Pardon me! + +MARION (_inaudibly_). + + Have mercy on me--God! + +DIDIER. + +Just speak one word; put your sweet hands upon +My forehead. If your heart is full and you +Can't speak, please make a sign. I'm dying; you +Must comfort me. + +[_Marion places her hand on his forehead; he rises, embraces her +tenderly, with a smile of celestial joy._ + + Farewell! Come, gentlemen! +Let us move on! + +MARION (_throws herself wildly between him and the Soldiers_). + + Oh, no! Stop! This is madness! +If you think you can behead him easily, +You have forgotten I am here. Spare us! +Oh, men! oh, soldiers, judge, people! Spare us! +How do you want me to ask you? Upon +My knees? Well, here I am! Now if +In you there's anything that quivers at +A woman's voice, if God has thrown no curse +On you--don't kill him! +[_To the spectators._] Men and women--you! +When you go back into your homes to-night, +You'll find your mothers and your daughters; they +Will say to you, "It was a wicked crime. +You might have saved him, and you did not. Shame!" +Didier, they ought to know that I must follow +You! They will not kill you if they want +To keep me living! + +DIDIER. + + Let me die, Marie. +'Tis better, dear one, for my wound is deep; +It would have taken too much time to heal. +Better for me to go; but if, some time-- +You see I'm weeping too--another comes, +A happier man, more fortunate than I, +Think of your old friend sleeping in the tomb. + +MARION. + +You shall not die! Are these men all inhuman? +You must live! + +DIDIER. + + Don't ask things impossible. +No; with your bright eyes, turn, illuminate +My grave for me. Embrace me. You will love +Me better, dead. I'll hold a sacred place +In your dear memory. But if I lived, +Lived near you with my lacerated soul-- +I, who have loved no one but you--you see +It would be painful. I would make you weep. +I'd have a thousand thoughts I could not speak. +I'd seem to doubt you, watch you, worry you. +You would be most unhappy. Let me die! + +COUNCILOR (_to Marion_). + +The Cardinal will pass by soon, madame! +You can ask pardon for him then. + +MARION. + + Oh, yes! +The Cardinal is coming--that is true. +You'll see, then, gentlemen, that he will hear! +My Didier, you shall hear me talk to him! +The Cardinal! Indeed, you must be all insane, +To think such an old man--a Christian too, +The gracious Cardinal--will not be glad +To pardon you. Have you not pardoned me? + +[_Nine o'clock strikes. Didier makes sign to all to hush. Marion +listens with terror. After the nine strokes have sounded, Didier goes +and stands close to Saverny._ + +DIDIER (_to the spectators_). + +You who have come to see the last of us, +If any speak of us, bear witness all, +That without faltering we have heard the hour +Bring us its summons to eternity. + +[_The cannon sounds at the door of the tower; the black veil which +concealed the opening in the wall, falls: the gigantic litter of The +Cardinal appears, borne by twenty-four foot-guards, surrounded by +twenty other guards bearing halberds and torches: the litter is scarlet +and ornamented with the arms of the House of Richelieu. It crosses the +back of the stage slowly. Great agitation among the crowd._ + +MARION (_dragging herself up to the litter on +her knees and wringing her hands_). + +In your Christ's name! In name of all your race, +Mercy for them, my lord! + +A VOICE (_from the litter_). + + No mercy! + +[_Marion falls to the ground. The litter passes and the procession of +the condemned men follows it. The crowd rush madly after them._ + +MARION (_alone, lifts herself half way up, and drags herself along by +her hands: looking around._) + + Ah! +What did he say? Where are they gone? My love! +My Didier! No one! Not a sound! Is it +A dream--this place? the crowd?--or am I mad? + +[_The people rush back in disorder. The litter reappears in the +background on the side where it went off. Marion rises and gives a +terrible cry._ + +He's coming back! + +GUARDS (_pushing the people aside_). + + Make way! + +MARION (_erect and half-wild, pointing to the litter_). + + Look, all of you! +It is the red man who goes by! + [_She falls senseless._ + + + + + +ESMERALDA + + + + +DRAMATIS PERSONAE + + Esmeralda. + Phoebus de Chateaupers. + Claude Frollo. + Quasimodo. + Fleur-de-lys. + Madame Aloise de Gondelaurier. + Diana. + Berangere. + Viscount de Gif. + M. de Chevreuse. + M. de Morlaix. + Clopin Frouillefou. + The Town-Crier. + _Populace, Vagrants, Archers, etc._ + + + +ESMERALDA + + + + +_ACT I_ + +SCENE.--_The Court of Miracles. It is night. A crowd of vagrants. +Noisy dancing. Male and female beggars in different attitudes of their +profession. The King of Thune on his cask. Fires, lights, torches. In +the shadow a circle of wretched dwellings_ + + +SCENE I + +_Claude Frollo, Clopin Frouillefou, then Esmeralda, then +Quasimodo. The Vagrants_ + +CHORUS OF VAGRANTS. + +Long live Clopin! Long live the King of Thune! +Long live the rogues of Paris. +Let us strike our blows at dusk-- +The hour when all the cats are drunk. +Let us dance! Defy Pope and bull, +And let us laugh in our skins, +Whether April wets or June burns +The feathers in our caps. +Let us smell from afar +The shot of the avenging archer, +Or the bag of money which passes +On the back of the traveler. +In the light of the moon, +We will go dance with the spirits. +Long live Clopin, King of Thune! +Long live the rogues of Paris! + +CLAUDE FROLLO (_apart behind a pillar in a corner of the stage. He is +covered with a long cloak which hides his priestly garb_). + +In the midst of this infamous band +What matters the sigh of a soul? +I suffer! Oh, never did fiercer flame +Burn in the bowels of a volcano. [_Esmeralda enters, dancing._ + +CHORUS. + +There she is! There she is! It is she--Esmeralda! + +CLAUDE FROLLO (_aside_). + + It is she! oh, yes--'tis she! + Wherefore, relentless fate, + Made you her so beautiful, + Me--so unfortunate? + +[_She reaches the center of the stage. The Vagrants form an admiring +circle around her._ + +ESMERALDA. + + An orphan am I, + Child of woe, + To you I turn + And flowers throw! + In my wild joy + Sad sighs abide; + I show a smile, + The tears I hide. + + Poor girl--I dance + Where brooklets run, + As chirp the birds + My song flows on: + I am the dove + Which, hurt, must fall; + Over my cradle + Hangs death's pall. + +CHORUS. + + Young girl, dance on! + More gentle you make us. + Take us for family, + And play with us, + As stoops the nightingale + Unto the sea, + Teasing its waves + To ecstasy. + + 'Tis the young girl-- + Child of woe, + When beams her eye + Grief must go. + She's like the bee + Which trembling flies + To the flower's heart, + Its Paradise. + + Young girl, dance on! + More gentle you make us. + Take us for family, + And play with us! + +CLAUDE FROLLO (_aside_). + + Tremble, young girl-- + The priest is jealous. + +[_Claude attempts to draw near to Esmeralda; she turns away from him +with a kind of horror. The procession of the Pope of Fools enters. +Torches, lanterns and music. In the middle of the procession, upon a +litter surrounded with candles, Quasimodo, decked with cope and miter, +is carried._ + +CHORUS. + +Salute him, clerks of Vasoche! +Shell-heaps, lubbers, beggars! +Salute him, all of you! He comes. +Behold the Pope of Fools! + +CLAUDE FROLLO (_perceiving Quasimodo, and +starting toward him with a gesture of anger_). + +Quasimodo! What a strange part to play! +Profanation! Here--Quasimodo! + +QUASIMODO. + +Great God! what do I hear? + +CLAUDE FROLLO. + +Come here, I tell you. + +QUASIMODO (_jumping from the litter_). + +Here I am! + +CLAUDE FROLLO. + +Be anathematized! + +QUASIMODO. + +God! it is himself! + +CLAUDE FROLLO. + +Outrageous audacity! + +QUASIMODO. + +Moment of terror. + +CLAUDE FROLLO. + +To your knees, traitor! + +QUASIMODO. + +Pardon me, Master! + +CLAUDE FROLLO. + +No! I am a priest. + +[_Claude Frollo tears off Quasimodo's pontifical ornaments, and +crushes them underfoot. The Vagrants begin to murmur; they form +menacing groups around him; he looks at them angrily._ + +THE VAGRANTS. + +He threatens us, +O comrades! +Here in this place, +Where we reign. + +QUASIMODO. + +What means the audacity +Of these robbers? +They menace him, +But we shall see! + +CLAUDE FROLLO. + +Race unclean, +You menace me. +Robbers--Jews-- +But we shall see! + +[_The anger of The Vagrants bursts forth._ + +THE VAGRANTS. + +Stop! stop! stop! +Down with the mar-joy! +He shall pay for it with his head; +In vain he defends himself. + +QUASIMODO. + +Have respect for his head. +Let every one cease, +Or I change this festival +To a bloody battle. + +CLAUDE FROLLO. + +It is not about his head +That Frollo is troubled. + [_Puts his hand on his heart._ +There is the tempest, +There is the battle! + +[_At the moment when The Vagrants' fury has reached its highest pitch, +Clopin Frouillefou appears at the back of the stage_ + +CLOPIN. + +Who in this infamous den +Dares to attack my lord the Archdeacon, +And Quasimodo, bell-ringer +Of Notre Dame? + +THE VAGRANTS (_subsiding_). + +It is Clopin, our King! + +CLOPIN. + + Clowns! Be off! + +THE VAGRANTS. + +We must obey! + +CLOPIN. + + Leave us! + +[_The Vagrants retire to their hovels. The Court of Miracles appears +deserted. Clopin approaches Claude cautiously._ + + +SCENE II + +Claude Frollo, Quasimodo, Clopin Frouillefou + +CLOPIN. + +What purpose brings you to this orgy? +Has your lordship any orders to give me? +You are my master in sorcery; +Speak--I will do all. + +CLAUDE FROLLO (_grasping Clopin's arm excitedly, and dragging him to +the front of the stage_). + + I have come to end all. +Listen! + +CLOPIN. + + My lord! + +CLAUDE FROLLO. + + I love her more than ever. +You behold me quivering with love and with anguish. +I must have her to-night. + +CLOPIN. + +You will see her pass by here--in a moment; +It is the way to her home. + +CLAUDE FROLLO (_aside_). + +Oh! Hell has hold of me! + [_Aloud._] Soon--you say? + +CLOPIN. + + Upon the instant! + +CLAUDE FROLLO. + +Alone? + +CLOPIN. + + Alone. + +CLAUDE FROLLO. + + That is enough. + +CLOPIN. + +Will you wait? + +CLAUDE FROLLO. + + I wait-- +Let me have her, or let me die! + +CLOPIN. + +Can I help you? + +CLAUDE FROLLO. + + No! + +[_He motions to Clopin to leave him, after having thrown him his +purse. When he finds himself alone with Quasimodo, he draws him to the +front of the stage._ + +CLAUDE FROLLO. + +Come! I need you! + +QUASIMODO. + + It is well! + +CLAUDE FROLLO. + +For a deed that is impious, frightful, awful! + +QUASIMODO. + +You are my lord and master! + +CLAUDE FROLLO. + + Chains, death, the law-- +We brave them all. + +QUASIMODO. + + Count upon me. + +CLAUDE FROLLO (_recklessly_). + +I mean to abduct the gypsy! + +QUASIMODO. + +Master, take my blood--without telling me why! + +[_Upon a sign from Claude Frollo he retires up stage and leaves his +master down stage._ + +CLAUDE FROLLO. + +Oh, Heaven! to have given one's mind to the depths, +To have tried all the crimes of sorcery, +To have fallen lower than hell itself: +A priest, at midnight, in the dark to watch for a woman! +And to reflect that in this state in which I find my soul God sees me! + + Well! what does it matter? + Fate drags me on! + Its hand is too strong, + Its will be done! + I begin life over-- + The priest insane + Feels hope no longer, + Knows terror is vain! + Demon, who drugs me, + Give her to me; + And I, who evoked thee, + Thy slave will be-- + Receive the priest + Whose bonds are riven! + Hell with her + Will be my heaven! + Come, exquisite woman, + Your beauty I claim. + You shall own me forever-- + I swear, in God's name! + Since he--since the master + By whom love was given, + Bids me choose--me, a priest, + Between passion and heaven! + +QUASIMODO (_returning_). + +Master, the moment is at hand! + +CLAUDE FROLLO. + + Yes--the solemn hour: +It will decide my fate. Be silent! Hush! + +_CLAUDE FROLLO and QUASIMODO._ + + The night is dark, + Footsteps I hear: + In shadow does not + Some one draw near? + +[_They go to the back of the stage to listen._ + +THE WATCH (_passing behind the houses_). + + Vigilance and peace! + Whoever passes here + Must ope the eye to darkness, + To silence strain the ear. + +_CLAUDE FROLLO and QUASIMODO._ + + In shadow they come; + They make no sound: + Still let us be + While the watch goes round! + +[_The voices of the watch grow fainter._ + +QUASIMODO. + +The watch has passed! + +CLAUDE FROLLO. + +Our terror follows it. + +[_Claude Frollo and Quasimodo look anxiously at the door through +which Esmeralda must pass._ + +QUASIMODO. + + Love inspires, + Hope renders strong, + Him who watches + While sleeps the throng. + I see her come-- + Lo! she appears. + Maid divine! + Have no fears! + +CLAUDE FROLLO. + + Love inspires, + Hope renders strong, + Him who watches + While sleeps the throng. + I see her come, + Maid divine! + Lo! she appears-- + She is mine! + +[_Esmeralda enters: they throw themselves upon her and try to drag her +away: she struggles._ + +ESMERALDA. + +Help--help! To me--help! + +_CLAUDE FROLLO and QUASIMODO._ + +Hush, young maiden--hush! + + +SCENE III + +_Esmeralda, Quasimodo, Phoebus de Chateaupers, the archers of +the watch_ + +PHOEBUS (_entering at the head of a body of archers_). + +In the King's name! + +[_In the struggle Claude escapes. The archers seize Quasimodo._ + +PHOEBUS. + +Arrest him! hold him close! +Be he lord or valet! +At once--we will conduct him +To the prison Chatelet. + +[_The archers take Quasimodo up stage and off. Esmeralda, recovered +from her fright, approaches Phoebus with curiosity, mingled with +admiration, and draws him gently to the front of the stage._ + +ESMERALDA (_to Phoebus_). + +Deign to tell me +Your name, sir! +I beg you to. + +PHOEBUS. + +Phoebus, my child-- +Of the family +Of Chateaupers. + +ESMERALDA. + +Captain? + +PHOEBUS. + +Yes, my queen! + +ESMERALDA. + +Queen? oh, no! + +PHOEBUS. + +Exquisite grace! + +ESMERALDA. + +Phoebus! I like your name! + +PHOEBUS. + + Upon my soul + I have a blade + Which has, Madame, + Great havoc made. + +ESMERALDA (_to Phoebus_). + + A beautiful captain, + An officer grand, + With corselet of steel + And an air of command! + Often, kind sir, + Our hearts they break, + And only laugh + At the tears they make. + +PHOEBUS (_aside_). + + With a beautiful captain, + An officer gay, + Love hardly succeeds + In living a day. + All soldiers desire + To pluck every rose, + Joys without troubles, + Love without woes. + +PHOEBUS (_to Esmeralda_). + +A radiant spirit +Smiles at me +Through thine eyes. + +ESMERALDA. + + A beautiful captain, + An officer grand, + With corselet of steel + And an air of command! + Long watches the girl + He carelessly passed; + And the dreams he awakened + Forever may last! + +PHOEBUS. + + With a beautiful captain, + An officer gay, + Love hardly succeeds + In a living day! + It's like lightning which flashes-- + This eager desire + Which the eyes of sweet maidens + Kindle to fire! + +ESMERALDA (_standing before the Captain and admiring him_). + +My lord Phoebus! Let me see you! +Let me admire you a hundred-fold! +Oh the beautiful scarf of silk-- +Oh the fine scarf with fringe of gold! + +[_Phoebus takes it off and offers it to her._ + +PHOEBUS. + +Does it please you? + +ESMERALDA (_taking the scarf and putting it on_). + +Yes, it is beautiful! + +PHOEBUS. + +One moment! + [_He goes to her and tries to embrace her._ + +ESMERALDA (_drawing back_). + +Don't, I beg you! + +PHOEBUS (_insisting_). + +You must kiss me! + +ESMERALDA (_drawing away still more_). + +No, truly! + +PHOEBUS (_laughing_). + + A beauty + So cruel, + So haughty, + Is charming. + +ESMERALDA. + + No, beautiful captain, + In vain you plead! + Can I tell how far + A kiss might lead? + +PHOEBUS. + + I am a captain, + Why abuse me? + I want a kiss-- + Don't refuse me! +Give it me--give it, or I will take! + +ESMERALDA. + +No, leave me! I beg of you, for my sake. + +PHOEBUS. + +One kiss, one kiss--'tis nothing, you see. + +ESMERALDA. + +Nothing to you, but much to me! + +PHOEBUS. + +Look at me, dear! I am playing no part! + +ESMERALDA. + +Alas, but I cannot look into my heart! + +PHOEBUS. + +To-night love shall make an entrance there! + +ESMERALDA. + +Wherever love enters, soon follows despair. + +[_She slips out of his arms and escapes. Phoebus, disappointed, +turns to Quasimodo, whom the archers hold bound at the back of the +stage._ + +PHOEBUS. + +She escapes me, she resists me! +A gay adventure, verily! +I keep the worst of our two birds of prey-- +The owl remains; the nightingale flew away! + +[_He places himself at the head of his guard and goes out, taking +Quasimodo with him._ + +CHORUS OF THE WATCH. + + Vigilance and peace-- + Whoever passes here + Must ope the eye to darkness, + To silence strain the ear! + +[_The sound grows fainter and finally ceases._ + + + + +_ACT II_ + +Scene.--_The square of Greve. The pillory. Quasimodo is in the +pillory. Populace on the square_ + + +SCENE I + +CHORUS. + +He abducted a girl-- +What! is it possible? +Hark! how they abuse him! +Do you hear, my friends? +Quasimodo has been hunting on Cupid's domain! + +A WOMAN OF THE PEOPLE. + +He will pass through my street +On his return from the pillory; +And it is Pierrat Forterne +Who will give us the signal. + +TOWN-CRIER. + +In the King's name, whom God protect! +The man you see here, will be put +Under a strong guard, +In the pillory for one hour. + +CHORUS. + +Down with him! Down with him! +The hunchback, the deaf, the one-eyed creature + This Barabbas! +I believe, s'death! he's looking at us. +Down with the sorcerer! +He makes faces, he kicks; +He makes dogs bark in the streets. +Punish the rascal well! +Double the whip and the penalty. + +QUASIMODO. + +Drink! + +CHORUS. + + Hang him! + +QUASIMODO. + +Drink! + +CHORUS. + + Be accursed! + +[_Esmeralda, some instants ago, joined the crowd. She perceives +Quasimodo, first with surprise, then with pity. Suddenly, in the midst +of all the noise, she mounts the pillory, unfastens a little cup which +she carries on her belt, and gives a drink to Quasimodo._ + +CHORUS. + +What are you doing, beautiful girl? +Leave Quasimodo alone! +When Beelzebub roasts, +Nobody gives him water. + +[_She comes down. The archers unfasten Quasimodo and take him away._ + +CHORUS. + + He abducted a woman! + Who? This dolt! + It is terrible, it is infamous, + It is too much! + Do you hear, my friends? + Quasimodo + Dared to go hunting on Cupid's domain. + + +SCENE II + +_A magnificent drawing-room in which people are making preparations for +a festival._ Phoebus, Fleur-de-lys, Madame Aloise De Gondelaurier + +MADAME ALOISE. + +Phoebus, my future son-in-law, listen to me. I am fond of you. +Be master here, as if you were another self. +Look to it that every one is gay to-night. +And you, my daughter, come, get ready. +You will be the most beautiful at this festival, +Be also the most happy. + +[_She goes up stage and gives orders to the servants, who continue the +preparations._ + +FLEUR-DE-LYS. + +Sir, since the other week, +We have hardly seen you twice! +This festival brings you back. +How fortunate for us! + +PHOEBUS. + +Don't scold, I beg of you! + +FLEUR-DE-LYS. + +I understand. Phoebus forgets me! + +PHOEBUS. + +I swear to you-- + +FLEUR-DE-LYS. + + Don't swear! +They only swear who deceive. + +PHOEBUS. + +Forget you? What folly! +Are you not the most fair? +Am I not the most loving? + +PHOEBUS (_aside_). + + My beautiful betrothed + Is out of sorts to-day; + Suspicion is in her mind. + What a pity! + Beauties, the lovers you treat ill + Go elsewhere. + You can do more with pleasure + Than with tears. + +FLEUR-DE-LYS (_aside_). + + To betray me, his betrothed, + Who belong to him! + I, who have only him to think of + And worry about! + Ah! whether he is away or here, + What grief! + Present, he scorns my joy; + Absent, my tears. + +FLEUR-DE-LYS. + +Phoebus, the scarf that I worked for you-- +What have you done with it? I don't see it. + +PHOEBUS (_troubled_). + +The scarf? I don't know! +[_Aside._] Good God! unlucky chance! + +FLEUR-DE-LYS. + +You forgot it? + [_Aside._]To whom has he given it? +And for whom am I deserted? + +MADAME ALOISE (_coming up to them and trying to reconcile them_). + +Heavens! get married! Then you can quarrel. + +PHOEBUS (_to Fleur-de-lys_). + +No! I have not forgotten it. +I remember, I carefully folded it +And put it in an enameled box +That I had made for it. + +[_Passionately to Fleur-de-lys, who still frets._ + +I swear I love you better +Than one could love Venus herself! + +FLEUR-DE-LYS. + +Don't swear! Don't swear! +They only swear who deceive! + +MADAME ALOISE. + +Children, don't quarrel--everything is bright to-day! +Come, my daughter, you must be seen! +The guests are coming! Everything has its turn. +[_To the servants._] Light the candles and let the ball begin. +I want everything to be beautiful, to seem as bright as day. + +PHOEBUS. + +Since we have Fleur-de-lys, nothing is wanting to the ball. + +FLEUR-DE-LYS. + +Yes, Phoebus--love is wanting! [_They go out._ + +PHOEBUS (_watching Fleur-de-lys go out_). + + She speaks the truth: my heart is sad + Even when she is near-- + The one I love, the one who fills my soul-- + Alas! she is not here. + + Exquisite creature, + To you my love! + Oh, dancing shadow, + My sweet-voiced dove, + Absent, yet with me + Wherever I move! + + She's as bewildering and sweet + As is a nest 'mid rushes, + Sweet as a rosebud crowned with moss, + Sweet as the joy which sorrow hushes. + + Humble child and virgin proud, + Soul that's pure though free! + Voluptuous ardors sink abashed + Before thy chastity. + + In the dark night she comes, + An angel from the skies; + Her forehead veiled by shadows, + Flames darting from her eyes. + + I see her face forever-- + Now bright, now dark it seems; + But strangely--'tis in heaven + I see her in these dreams. + + Exquisite creature. + To you my love! + Oh, dancing shadow, + My sweet-voiced dove, + Absent, yet with me + Wherever I move! + +[_Enter several lords and ladies in gala dress._ + + +SCENE III + +_The preceding. Viscount de Gif, M. de Morlaix, M. de Chevreuse, +Madame de Gondelaurier, Fleur-de-lys, Diana, Berangere. Ladies, +Lords_ + +VISCOUNT DE GIF. + +My salutations, noble hostesses! + +MADAME ALOISE, PHOEBUS, FLEUR-DE-LYS (_bowing_). + +Good-evening, noble viscount! +Forget all care and grief +Beneath this hospitable roof. + +M. DE MORLAIX. + +Ladies, may God send you +Health, pleasure, and happiness! + +MADAME ALOISE, PHOEBUS, FLEUR-DE-LYS. + +May Heaven return with interest +All your good wishes, my lord! + +M. DE CHEVREUSE. + +Ladies, from the bottom of my soul +I belong to you, as I do to God! + +MADAME ALOISE, PHOEBUS, FLEUR-DE-LYS. + +Kind sir, may our good Lady +Come always to your aid! + [_All the guests enter._ + +CHORUS. + + Come to the festival, come! + Page, lordship, and ladyship, come! + With flowers in your hand, + A joy-seeking band, + Come to the festival, come! + +[_The guests greet and salute each other; servants circulate among the +crowd, bearing platters laden with flowers and fruits. A group of young +girls forms itself near a window to the left. Suddenly one of them calls +to the others, and motions to them to look out of the window._ + +DIANA (_looking out_). + +Come and look! come and look, Berangere! + +BERANGERE (_looking into the street_). + +Isn't she quick? Isn't she light? + +DIANA. + +It is a fairy or it is love. + +VISCOUNT DE GIF (_laughing_). + +Who dances in the public square? + +M. DE CHEVREUSE (_after having looked_). + +Indeed! it is the magician. +Phoebus, it is your gypsy +Whom, the other night, with valor +You saved from a robber. + +VISCOUNT DE GIF. + +Oh, yes, it is the gypsy. + +M. DE MORLAIX. + +She's as beautiful as the day. + +DIANA (_to Phoebus_). + +If you know her, tell her to come +And dance for us. + +PHOEBUS (_looking out with an absent air_). + +It might be she! + +[_To M. de Gif._] Do you think she would remember? + +FLEUR-DE-LYS (_who watches and listens_). + +Every one remembers you. +Come, call her, tell her to come up. +[_Aside._] I will see whether to believe what I am told. + +PHOEBUS (_to Fleur-de-lys_). + +You wish it? Well, let us try! + [_He motions to the dancer to come up._ + +THE YOUNG GIRLS. + +She is coming! + +M. DE CHEVREUSE. + +She has disappeared under the porch. + +DIANA. + +She has left the mob, stupefied. + +VISCOUNT DE GIF. + +Ladies, you will see the nymph of the streets. + +FLEUR-DE-LYS (_aside_). + +How quickly she obeyed that sign from Phoebus! + + +SCENE IV + +_The same. Esmeralda. The gypsy enters timidly, confused and radiant. +Movement of admiration. The crowd falls back before her_ + +CHORUS. + +Look! her brow is fair amid the fairest, +As a star would shine, surrounded by torches. + +PHOEBUS. + + Oh, creature divine! + Admiration is duty. + Of this ball she is queen, + Her crown is her beauty. + +[_He turns to Messieurs de Gif and de Chevreuse._ + + Friends, my soul is on fire. + War and death would I face, + To hold in my arms + Such bewildering grace. + +M. DE CHEVREUSE. + + She is a heavenly vision, + A dream most rare and tender, + Which, floating through earth's darkness, + Radiates celestial splendor. + Born in the public streets-- + Oh, blind caprice of fate, + To trail through muddy streams + A flower so immaculate! + +ESMERALDA (_fixing her eyes on Phoebus in the crowd_). + + It is my Phoebus, I was sure, + Just as that night I found him; + Whether in satin or in steel, + How grace and strength surround him! + Phoebus--my head is all on fire, + All burns within me, joy and pain; + My soul's consumed for lack of tears, + Just as earth yearns for rain. + +FLEUR-DE-LYS. + + How fair she is--yes, I was sure! + Jealous, indeed, I ought to be; + But yet to match that loveliness + How great must be my jealousy! + Alas! perhaps we both, foredoomed + To waste 'neath sorrow's harsh caress, + Full soon shall die--she in her flower, + I in my loneliness! + +MADAME ALOISE. + + A radiant creature, truly, + But, faith, 'tis a disgrace + That such a wretched gypsy + Should have so sweet a face. + Alas! the curious laws of fate + 'Tis not for mortal mind to know: + The serpent hides his treacherous head + Beneath the fairest flowers that grow. + +ALL (_together_). + + She has the calmness, the delight + Of radiant skies on a warm night. + +MADAME ALOISE (_to Esmeralda_). + +Come, child! My beauty, come-- +Come and dance us some new dance! + +[_Esmeralda prepares to dance, and draws from her bosom the scarf which +Phoebus gave her._ + +FLEUR DE-LYS. + +My scarf! Phoebus, you have deceived me! +My rival! Here she is! + +[_Fleur-de-lys snatches the scarf from Esmeralda, and falls in a +swoon. All the people rush angrily toward the gypsy, who flies for +protection to Phoebus._ + +ALL. + + Is it true that Phoebus loves her? + Infamous creature, go--depart! + To brave us thus in our own home, + You must have an audacious heart. + Oh! height of insolence! Retire! + Go back into the public street! + The common tradesmen, they can praise + The jumping of your low-born feet. + Away with her, away at once! + Out at the door! 'Tis a disgrace + For this degraded girl to lift + Her eyes to such a lofty place. + +ESMERALDA. + + Oh, defend me! Help! Defend me, + Save me, Phoebus, I implore thee; + For the poor forsaken gypsy, + Stands defenseless now before thee! + +PHOEBUS. + + I love her, and I love but her. + Yes! her defender I will be. + I'll fight for her, and my strong arm + Will bear my heart out valiantly. + If some one must be her protector, + I am the one--and doubt me not, + Her wrongs are mine, and who insults her + Must answer for it on the spot. + +ALL. + + What! She is what he loves! Indeed! + Away from here, away from here! + A gypsy he prefers to us; + With loving words he calms her fear. + Hush! silence! Both of you be still! + No further words of insolence. + +[_To Phoebus._] From you, 'tis too much arrogance! + +[_To Esmeralda._] From thee, too much impertinence! + +[_Phoebus and his friends protect the gypsy, who is menaced by all +the guests of Madame De Gondelaurier. Esmeralda staggers toward the +door._ + + + + +ACT III + +Scene.--_The front yard of a tavern. Tavern to the right; trees to the +left. In the back a door, and a small low wall which closes in the yard. +In the distance the roof of Notre Dame with its towers and its spire. A +dark silhouette of old Paris outlines itself against the red sunset. The +river Seine is at the base of the picture_ + + +SCENE I + +_Phoebus, Viscount de Gif, M. de Morlaix, M. de Chevreuse, and +many other friends of Phoebus, seated at tables, are drinking, and +singing; afterward Don Claude Frollo_ + +CHORUS. + + Be propitious and well-inclined, + Our Lady of Saint Lo, + To him who only water hates + Of all things here below! + +PHOEBUS. + + Give to the brave + In every place + A well-filled cellar, + A pretty face. + Happy fellow! + Help him hold + Dainty women, + Wine that's old. + + If a beauty + Of cold mien + Be unwilling, + 'Tis sometimes seen, + He jokes with her + With merry winks, + Then he sings, + Then he drinks! + + The day goes by. + Or drunk or not, + He soon embraces + His Toinotte; + Then ferocious + He goes to bed + In a cannon's mouth, + And sleeps like lead! + + And his soul, + Which often seems + To mix up women + With his dreams, + Is contented if the wind, + With its come and go, + Rocks the canvas of his tent + Gently to and fro! + +CHORUS. + + Be propitious and well inclined, + Our Lady of Saint Lo! + To him who only water hates + Of all things here below. + +[_Enter Claude Frollo, who seats himself at a table at some distance +from Phoebus, and appears at first to observe nothing that passes +around him._ + +VISCOUNT DE GIF (_to Phoebus_). + +That pretty gypsy, +What are you doing with her? + +[_Claude Frollo makes a movement of attention._ + +PHOEBUS. + +To-night, in an hour, +I have a meeting with her. + +ALL. + +Truly? + +PHOEBUS. + + Truly! + +[_The agitation of Claude Frollo increases._ + +VISCOUNT DE GIF. + +In one hour? + +PHOEBUS. + + In one moment! + Oh, love! supremest rapture! + To feel one heart holds two! + To own the woman that one loves-- + Be slave and conqueror too! + To have her soul; to have her charms, + Her song which fills with bliss; + To see her sweet eyes wet with tears, + To dry them with a kiss. + +[_While he sings, the others drink and strike their glasses._ + +CHORUS. + + 'Tis a rapture supreme, + Whatever one thinks, + To drink to one's love, + And to love what one drinks! + +PHOEBUS. + + Friends, the prettiest of all, + A grace divine, + Oh, wonder, ecstasy! + Friends, she is mine! + +CLAUDE FROLLO (_aside_). + + I bind myself to hell; + Misfortune on you dwell! + +PHOEBUS. + + Pleasure awaits us; + Exhaust without remorse + The better part of life, + Love's precious intercourse! + What matter if one dies, + When joy has passed away, + I'd give a century for an hour, + Eternity for a day. + +[_The curfew rings; the friends of Phoebus arise from the table, +replace their swords, their caps, their cloaks, and prepare to depart._ + +CHORUS. + + Phoebus, the hour is come; + It is the curfew-bell: + Hurry to your beloved; + God's blessing on you dwell! + +PHOEBUS. + + At last the hour is come; + It is the curfew-bell. + I go to my beloved; + God's blessing on her dwell! + +[_The friends of Phoebus go out._ + + +SCENE II + +_Claude Frollo, Phoebus. Claude Frollo stops Phoebus as he +is about to go out_ + +CLAUDE FROLLO. + +Captain! + +PHOEBUS. + + Who is this man? + +CLAUDE FROLLO. + +Listen to me? + +PHOEBUS. + + Make haste! + +CLAUDE FROLLO. + +Do you know the name of the one +Who awaits you at the meeting to-night? + +PHOEBUS. + + By my life, it is my beauty! + The one I love and who loves me. + My song-bird, my dancing gypsy, + My Esmeralda, it is she! + +CLAUDE FROLLO. + +It is death! + +PHOEBUS. + +Friend! First, you are an idiot; +Second, go to the devil! + +CLAUDE FROLLO. + +Listen! + +PHOEBUS. + + What do I care? + +CLAUDE FROLLO. + +Phoebus, if you cross the threshold of that door-- + +PHOEBUS. + +You are mad! + +CLAUDE FROLLO. + + You are dead! + Tremble! One of the gypsies she! + No law protects those awful places. + There love's a masquerade for hate, + Death lies concealed in their embraces. + +PHOEBUS (_laughing_). + + My dear sir, readjust your cape, + Return unto your fools' retreat! + Strange they allow you to escape! + May Esculapius, Jupiter, the Devil, + Thither conduct your straying feet! + +CLAUDE FROLLO. + + Truly they are faithless women; + Believe that the report speaks true. + Darkness strange and deep surrounds them; + Phoebus! there death waits for you! + +[_Claude Frollo's earnestness seems to trouble Phoebus, who looks +at his interrogator with anxiety._ + +PHOEBUS. + + He astounds me! + Ah, he wounds me, + In spite of myself, with doubt! + This city great + Is full of hate, + And treachery is all about! + +CLAUDE FROLLO. + + I astound him, + And I wound him, + In spite of himself, with doubt. + The fool, he fears, + And sees and hears + Nothing but treachery about. + +Believe me--my lord, avoid the siren +Who lures you to destruction. +More than one gypsy in her rage +Has stabbed a heart palpitating with love. + +[_Phoebus, whom he tries to drag along, recovers himself and pushes +him off._ + +PHOEBUS. + + Have I become a fool? + Gypsy, Jewess, or Moor, + The love that questions what she be + Is love most base and poor. + The fateful hour is come, + Unto my love I fly! + If death be but as sweet as she, + It will be fine to die! + +CLAUDE FROLLO (_holding him_). + + Consider! A gypsy! + Your folly is great. + How dare you thus rashly + Trifle with fate! + Oh, dread the false creature + Who waits in the gloom, + And do not thus wildly + Rush to your doom. + +[_Phoebus exits quickly, in spite of Claude Frollo. Claude +Frollo stands gloomy and undecided for a moment; then follows +Phoebus._ + + +SCENE III + +_A chamber. In the background, a window which opens on the river. +Clopin Frouillefou enters, bearing a torch. He is followed by several +men, to whom he makes a preconcerted sign, and places them in a dark +corner, in which they disappear; then he returns to the door and signals +to some one to come up. Don Claude appears_ + +CLOPIN (_to Claude_). + +From here you can see the captain +And the gypsy without being seen. + +[_He shows him an alcove behind some tapestry._ + +CLAUDE FROLLO. + +The men are stationed and ready? + +CLOPIN. + + They are ready. + +CLAUDE FROLLO. + +The projector of this must never be known. +Silence! take this purse. +I will give you as much more afterward. + +[_Claude Frollo hides himself in the alcove. Clopin exits with +caution. Esmeralda and Phoebus enter._ + +CLAUDE FROLLO (_aside_). + + Oh, woman adored, + Destiny's prey! + She enters in beauty, + In tears goes away. + +ESMERALDA (_to Phoebus_). + + My lord the count, + My feelings I try to hide. + My heart is filled with shame, + And filled also with pride. + +PHOEBUS (_to Esmeralda_). + + My beauty, white and red, + I beg you blush no more. + Love, entering love's domain, + Leaves fear outside the door. + +[_Phoebus makes Esmeralda sit down on the bench beside him._ + +PHOEBUS. + +Dost thou love me? + +ESMERALDA. + + I love thee! + +CLAUDE FROLLO (_aside_). + + What torture! + +PHOEBUS. + +The adorable creature! +Upon my soul, you are divine! + +ESMERALDA. + +Your lips are flatterers; +You make me feel ashamed. +I beg of you, don't come so near. + +CLAUDE FROLLO. + +They love each other. How I envy them! + +ESMERALDA. + +My Phoebus! I owe my life to you. + +PHOEBUS. + +And I--I owe my happiness to you. + +ESMERALDA. + + Be good to me! + Oh, try to be + Gentle, I entreat, + To the young maid, + Who much afraid + Trembles at your feet! + +PHOEBUS. + + Oh, my white queen, + Goddess serene, + Sovereign of beauty, + Whose bright eyes shine + With fires divine + Of passion and of duty! + +CLAUDE FROLLO. + + I wait for them; + I hark to them. + How tender she, + How handsome he! + How near their doom! + Be joyous he, + And happy she, + While I prepare their tomb! + +PHOEBUS. + + Nymph or woman, + Saint or human, + Be my wife to me! + All day I yearn, + All night I burn, + Such is my love for thee! + +ESMERALDA. + + I am woman, + I am human, + And my soul afire, + Trembles ever, + Longs forever, + As throbs a lover's lyre! + +CLAUDE FROLLO. + + Woman, wait! + My flame as great, + My blade must have its turn. + Oh! I admire + These souls afire, + And these hearts which burn! + +PHOEBUS. + + Be always white and red, my love, + And smile at our bright lot; + Smile sweet at love, which we've awaked, + And chastity, which we've forgot. + Your mouth is heaven--my heaven, love-- + My soul would cling in bliss + Upon it, love, and pray that life + Might end with one long kiss. + +ESMERALDA. + + Your voice delights my ear, love; + Your smile is sweet and free. + The laughing passion in your eyes + Benumbs and conquers me. + Your wishes are my law, love, + But I can't yield to this: + My virtue and my happiness + Might die in that long kiss! + +CLAUDE FROLLO. + + Don't let them hear your step, Death, + As near to them you creep! + My jealous hatred will keep watch + While their love falls asleep. + From out their arms so closely locked + You'll steal away their bliss! + Phoebus--your wish is granted, + You die for that long kiss! + +[_Claude Frollo rushes upon Phoebus and stabs him; then he opens +the window in the back, through which he escapes. With a great cry, +Esmeralda falls upon the body of Phoebus. The men stationed at the +corner rush forward, seize her, and seem to accuse her._ + + + + +_ACT IV_ + +Scene.--_A prison. Door in the center_ + + +SCENE I + +ESMERALDA (_alone, chained, lying upon a bed of straw_). + +What! He in the tomb and I in this cell-- + He a victim and I a prisoner! +I saw him fall! In truth, he's dead! + And this crime, this awful crime-- + They say it is my work! +The stem of our life, while yet green, is broken. +Phoebus has gone, and he shows me the way. + Yesterday they made his grave, + To-morrow they'll make mine! + +ROMANCE + + Phoebus, is there nothing left, + No help given, to those bereft + In this cruel wise-- + Neither filters, love, nor charms, + To assuage the soul's alarms, + Or reopen closed eyes? + + God in heaven, I adore thee! + Every hour I implore thee! + Deign to end my life to-day + Or to take my love away! + + Phoebus, let us turn our wings + Toward the lights supernal, + Where all things must go at last, + Where love bides and is eternal. + On earth our bodies sleep together, + In heaven our souls will live forever! + + God in heaven, I adore thee! + Every hour I implore thee! + Deign to end my life to-day + Or to take my love away! + +[_The door opens. Claude Frollo enters, a lamp in his hand, his hood +pulled over his face: he comes and stands, motionless, in front of +Esmeralda._ + +ESMERALDA (_jumping up with terror_). + +Who is this man? + +CLAUDE FROLLO (_covered by his hood_). + +A priest! + +ESMERALDA. + +A priest! How mysterious! + +CLAUDE FROLLO. + +Are you ready? + +ESMERALDA. + +Ready for what? + +CLAUDE FROLLO. + +Ready to die. + +ESMERALDA. + +Yes. + +CLAUDE FROLLO. + +It is well. + +ESMERALDA. + +Will it be soon? Answer me, father! + +CLAUDE FROLLO. + +Do you suffer so much? + +ESMERALDA. + +Yes, I suffer. + +CLAUDE FROLLO. + +Perhaps I, who shall live to-morrow, +Suffer more than you. + +ESMERALDA. + +You? Who, then, are you? + +CLAUDE FROLLO. + +The tomb lies between us! + +ESMERALDA. + +Your name? + +CLAUDE FROLLO. + +You wish to know it? + +ESMERALDA. + +Yes. [_He lifts his hood._ + The priest! +It is the priest! O God! my feeble strength inspire! +It is indeed his brow of ice, it is his glance of fire! +'Tis he who has pursued me, remorseless, day and night; +'Twas he who killed my Phoebus, and slew my heart's delight. +Monster, from my prison, with death's cold hand on me, +I'll curse thee, till within the grave my lips shall silent be! +What have I done to thee? What is thine awful plan? +What dost thou want with me, relentless, impious man? +You hate me! + +CLAUDE FROLLO. + + I love you! + I love you--it is infamous! + Oh, shame to my priesthood! + This love, it is my soul; + This love, it is my blood! + At your feet I fall; + Hear my heart, which cries, + I prefer your tomb + Unto Paradise. + +Pity me. I love you! Your pity I implore! +For you I've sinned. Have mercy, do not curse me more! + +ESMERALDA. + +He loves me! Oh, crown of horrors! +He holds me--this horrible sorcerer! + +CLAUDE FROLLO. + +The only living thing in me +Is my love and my anguish! + Hopeless anguish, + Wretched plight! + Alas! I love her, + Painful night! + +ESMERALDA. + + Awful moment, + Cruel fright! + Heaven! He loves me, + Fearful night. + +CLAUDE FROLLO (_aside_). + +She shudders, quivers in my arms; + The priest has won his chance at last! +By night I bore her, once, away; + Now, in the day, I'll hold her fast! +Death, which follows in my train, +Will give her back to love again! + +ESMERALDA. + +Pity--pity, let me go! + Phoebus is dead; he waits above. +Alas! I tremble, I'm afraid, + I shiver at your frightful love, +E'en as the bird which, tortured, dies +Beneath the vulture's cruel eyes! + +CLAUDE FROLLO. + +Accept me, I love you! Refuse me no more! +Have pity for me, for yourself, I implore! + +ESMERALDA. + +Your prayer is an insult. + +CLAUDE FROLLO. + + Would you rather die? + +ESMERALDA. + +The body dies--the soul lives! + +CLAUDE FROLLO. + +To die is terrible! + +ESMERALDA. + +Hush! your impious words! +Your love makes death beautiful! + +CLAUDE FROLLO. + +Choose! choose! Or Claude or death! + +[_Claude falls at Esmeralda's feet in supplication. She repels him._ + +ESMERALDA. + + No, murderer, I will not! Hush! + A crime is this foul love you've nursed. + Better the tomb to which I fly-- + Be cursed amid the most accursed! + +CLAUDE FROLLO. + +Tremble, for the scaffold claims you! + You know not what awful schemes +This breast of fury has engendered; + And hell abets me in my dreams. + How I love thee! + Thy hand give, + And to-morrow + Thou shalt live! + Night benumbed + With terror's breath! + Tears for me, + For thee death! + Say, "I love thee!" + Cease thy scorning; + Thy last day + Is dawning! +Ah! since in vain I supplicate, + In vain thy hate I fight, +Farewell forever! One day more, + Then comes eternal night. + +ESMERALDA. + + Inhuman priest. + Go! I abhor thee! + His dear blood yet + Seems dripping o'er thee, + Oh, night of horror, + Night of shame! + Enough of tears; + Death I claim! + In prison I brave thee, + In chains defy! + Be thou accursed + Eternally! +Thy passion be thy punishment! +To God my love leads me: +The gates of heaven he'll open, +But hell shall close o'er thee! + +[_A jailer appears. Claude Frollo signs to him to lead out +Esmeralda. He exits while they drag forth the gypsy._ + + +SCENE II + +_The area before Notre Dame; the front of the church. The sound of bells +is heard_ + +QUASIMODO. + +My God! I love, +Except myself, +All that's here-- +The air which passes, +And which chases +Away care; +And the swallow +Who is faithful +To the old roof; +The chapels high +O'ershadowed by +The Holy Cross; +Every rose +That grows; +Every sight +Of delight! + +Sad creature, I-- +Uncouth, ill-made! +None envies me! +This is life +As it is! +Darkest night, +Bluest sky, +What matters it? +Every door +Leads to God. +Ignoble scabbard, +Noble blade; +Fair my soul +God has made. + +Ring, bells small and great-- +Ring on, ring on! +Mix well your voices, +Gruff and sweet! +In the turrets, +In the tower, +Sing your song! + +How they ring! +With all their might, +Let them hum +Day and night! +Our festival shall be +Magnificent, I swear! +Assail it fiercer yet, +The palpitating air! +The stupid peasants run, +And o'er the bridges tear! + + Let them ring, + Let them hum, + Day and night! + Every feast + Is increased + By their might! + +[_He turns toward the front of the church._ + +I saw black hangings in the chapel. +Are they dragging some misery here? +God! a presentiment! I'll not believe it! + +[_Enter Claude Frollo and Clopin without perceiving Quasimodo._ + +It is my master! I'll observe him. He is gloomy too! + +[_He hides himself in an obscure angle of the porch._ + +Oh, my mistress! Oh, Notre Dame! +Take my life! save my soul! + + + +SCENE III + +_Quasimodo hidden, Claude Frollo, Clopin_ + +CLAUDE FROLLO. + +So Phoebus is at Montfort? + +CLOPIN. + +My lord, he is not dead! + +CLAUDE FROLLO. + +Provided nothing brings him here! + +CLOPIN. + +Do not fear it; +He is too feeble yet for such a journey. +If he came, 'twould be his death. +My lord, you can feel sure +That every step would reopen his wound; +Do not fear anything this morning. + +CLAUDE FROLLO. + +Oh! let me hold her just to-day +For life or death within my power! +Hell! I'll give you all the rest, +If you grant me this one hour! +[_To Clopin._] They will soon bring the gypsy here! +You remember everything! +In the square--with your men-- + +CLOPIN. + +Yes. + +CLAUDE FROLLO. + + Keep in the shadow; +If I cry, "To me!" you come. + +CLOPIN. + +Yes! + +CLAUDE FROLLO. + + Have plenty with you! + +CLOPIN. + +If you cry, "To me!" + +CLAUDE FROLLO. + +Yes. + +CLOPIN. + + I rush to her, +I tear her from the King's men-- + +CLAUDE FROLLO. + +Yes. + +CLOPIN. + + And give her to you. + +CLAUDE FROLLO. + +Go, mix among the crowd, + And perhaps she +Will look upon the priest + More tenderly; +Then rush--rush all of you-- + +CLOPIN. + + Yes, my master! + +CLAUDE FROLLO. + +Hold yourselves close! + +CLOPIN. + + Yes. + +CLAUDE FROLLO. + +Hide your arms, +Not to excite suspicion! + +CLOPIN. + + Master, you shall see! + +CLAUDE FROLLO. + + But hell may take her quick, + With my good-will, + If now this insane creature + Refuses still! + + Destiny! Oh, fatal stroke! + Friend, I count on thee! + On this my only chance I wait + With fierce anxiety. + +CLOPIN. + + Fear nothing terrible, my lord, + Count faithfully on me, + And on this last and only chance + Rely courageously! + +[_They go out hurriedly. The populace begin to enter the square._ + + +SCENE IV + +_The populace; Quasimodo; afterward Esmeralda, and her escort; then +Claude Frollo, Phoebus, Clopin Frouillefou, priests, archers, +officers of the law_ + +CHORUS. + + To Notre Dame + Come, get a sight + Of the young woman + Who dies to-night! + + This gypsy woman + Who stabbed, they say, + The handsomest officer + In the King's pay. + + In vain did Heaven + Beauty lend her! + Is it possible-- + God defend her!-- + A soul so black, + An eye so tender! + + A frightful thing, + Human nature is so! + The poor unfortunate! + Come, let us go + To Notre Dame + To get a sight + Of the young woman + Who dies to-night! + +_The crowd increases; noise; a gloomy procession begins to appear on the +Place du Parvis. Rows of black penitents. Banners of La Misericorde. +Torches, archers, officers of the law and the watch. The soldiers +disperse the crowd. Esmeralda appears. She wears a chemise; a rope is +around her neck; her feet are bare, and she is covered with a long black +veil of crape. Following her, come the executioners and the King's +officers. As the prisoner reaches the front of the church, a somber +chant is heard in the distance, coming from the interior of the church, +whose doors are closed._ + +CHORUS (_in the church_). + + Omnes fluctus fluminis + Transierunt super me + In imo voraginis + Ubi plorant animae. + +[_The chant draws nearer. It bursts forth, at length, when near the +doors, which open suddenly and discover the interior of the church. It +is filled with a long procession of priests in their robes of ceremony; +banners are borne before them. Claude Frollo, in sacerdotal costume, +leads the procession. He goes toward the criminal._ + +THE PEOPLE. + +Alive to-day, to-morrow dead! +Heaven! thy wings around her spread! + +ESMERALDA. + +It is Phoebus who calls me + Unto our home eternal, +Where God will hold us in His arms, + Safe from misfortunes cruel. +Though plunged in the abyss of woe, + A joyful hope is given: +I am to die upon the earth + To be re-born in heaven! + +CLAUDE FROLLO. + +To die so young, so beautiful! + Alas! the guilty priest +Must suffer greater woe than she; + He ne'er will be released. +Oh, hapless child of sorrow, + Lost through my infamy, +You only die from off this earth, + While heaven is lost to me! + +THE PEOPLE. + +Alas! she is an infidel. + God's words, unto us spoken, +Say that in heaven for such as she + No blessed gate shall open. + +Death holds her fast, what misery! + She can escape it, never! +She dies unto the world this day, + And unto heaven forever! + +[_The procession approaches. Claude accosts Esmeralda._ + +ESMERALDA (_frozen with terror_). + +It is the priest! + +CLAUDE FROLLO (_low_). + +Yes, it is I! I love you, I entreat you! +Say but one word! 'Tis not too late; +I can yet save you! +Say, I love you! + +ESMERALDA. + + I abhor you! Go! + +CLAUDE FROLLO. + +Then die! I'll go where I can find you! + [_Claude turns to the crowd._ +We deliver this woman to the secular arm; +At this solemn moment may the breath of the Lord +Pass over her soul! + +[_As the officers of the law are about to seize Esmeralda, Quasimodo +jumps into the square, thrusts back the archers, takes Esmeralda in +his arms, and throws himself with her into the church._ + +QUASIMODO. + +Sanctuary! sanctuary! sanctuary! + +THE PEOPLE. + +Sanctuary! sanctuary! sanctuary! +Rejoice, O people! +Hail to the good bell-ringer! + Oh, destiny! + The criminal + Belongs to heaven! + The scaffold falls! + The eternal God + Instead of a tomb + Discloses the altar! + Executioners, back! + King's officers, back! + This barrier + Limits your power. + Thou hast changed + Everything here. + The angels claim her; + She belongs to God! + +CLAUDE FROLLO (_commanding silence by a gesture_). + +She is not saved! She is a gypsy! +Notre Dame can save none but Christians! +Pagans are proscribed even when clasping the altar! +[_To the King's men._] In the name of my lord the Archbishop of Paris, +I give you back this sinful woman! + +QUASIMODO (_to the archers_). + +I will defend her! I swear it. +Approach us not! + +CLAUDE FROLLO (_to the archers_). + + Do you hesitate? +Obey me, on the instant! +Tear the gypsy from this holy place. + +[_The archers advance. Quasimodo places himself between them and +Esmeralda._ + +QUASIMODO. + +Never! + [_A horseman is heard approaching. He calls out_: + Wait! [_The crowd disperses._ + +PHOEBUS (_appearing on horseback. He is pale, breathless, exhausted +as is a man who has made a long journey_). + + Wait! + +ESMERALDA. + +Phoebus! + +CLAUDE FROLLO (_aside, terrified_). + + My plot has failed. + +PHOEBUS (_leaping from his horse_). + +God be praised! I breathe +And I arrive in time! +This girl is innocent. +Behold my assassin! + [_Points to Claude Frollo._ + +ALL. + + Heavens! the priest! + +PHOEBUS. + +The priest alone is guilty, and I will prove it! +Arrest him! + +THE PEOPLE. + + Oh, wonder! [_The archers surround Claude Frollo._ + +CLAUDE FROLLO. + +God alone is Master! + +ESMERALDA. + +Phoebus! + +PHOEBUS. + + Esmeralda! + [_They fall into each other's arms._ + +ESMERALDA. + +My adored Phoebus, we shall live! + +PHOEBUS. + +Thou shalt live! + +ESMERALDA. + + For us shines happiness! + +THE PEOPLE. + +Live, both of you! + +ESMERALDA. + + Hear these joyous shouts! +At thy feet receive me, humble girl! +Heavens! thou art pale! What is the matter? + +PHOEBUS (_staggering_). + +I die! + +[_She catches him in her arms. Expectation and anxiety among the crowd._ + +Each step I took toward you, my beloved, +Reopened my wound, that was hardly healed. +I have taken your grave and given you life. +I die! Destiny has avenged thee. +My angel, I go to see +If heaven is worth thy love! +Farewell! [_He dies._ + +ESMERALDA. + +Phoebus! He dies! In an instant everything is changed! + +[_She falls upon his body._ + +I follow you into eternity. + +CLAUDE FROLLO. + +Fatality! + +THE PEOPLE. + + Fatality! + + + + + +Transcriber's Notes + +A few minor typographical errors have been silently corrected. Names of +characters have been regularized, but other variant spellings have been +left as they were printed. Page numbers have been removed from the table +of contents. + + + + + +End of Project Gutenberg's The Dramas of Victor Hugo, by Victor Hugo + +*** END OF THIS PROJECT GUTENBERG EBOOK THE DRAMAS OF VICTOR HUGO *** + +***** This file should be named 39133.txt or 39133.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/9/1/3/39133/ + +Produced by Andrew Sly, Chuck Greif and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +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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