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diff --git a/old/54705-0.txt b/old/54705-0.txt deleted file mode 100644 index 5f367eb..0000000 --- a/old/54705-0.txt +++ /dev/null @@ -1,4905 +0,0 @@ -The Project Gutenberg EBook of The Sorceress, by Victorien Sardou - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Sorceress - A Drama in Five Acts - -Author: Victorien Sardou - -Translator: Charles A. Weissert - -Release Date: May 11, 2017 [EBook #54705] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE SORCERESS *** - - - - -Produced by David Thomas - - - - - - -THE SORCERESS - -A Drama in Five Acts -BY -VICTORIEN SARDOU - -Authorized Translation from the French by -CHARLES A. WEISSERT -With an Introduction by the Translator - - -BOSTON: RICHARD G. BADGER -TORONTO: THE COPP CLARK CO., LIMITED - -COPYRIGHT, 1917, BY RICHARD G. BADGER -All Rights, including those of Presentation, Reserved - -The Gorham Press, Boston, U.S.A. -Printed in the United States of America - - -PREPARER'S NOTES - -This book was originally digitized by Google and is intended for -personal, non-commercial use only. - -Alterations from the original text: --Rename Act Four/Scene 8 to "Scene 7". --Spelling correction: change "Calabazos" to "Calabazas". - - -DEDICATION - -TO THE MEMORY -OF -GEORGE WASHINGTON SOUTH, JR. - - -SARDOU AND HIS WORK - -I - -Victorien Sardou was born in Paris on September 7, 1831. His father, -a native of the vicinity of Cannes on the Mediterranean, came to Paris -in 1819 and followed a variety of scholastic pursuits. His mother was -a resident of the ancient city of Troyes. Victorien's father finally -engaged in literary work, edited text books and taught in schools. -His interesting personality made for him many friends. He never became -well-to-do; on the contrary, he became so entangled in indebtedness -that he gave up Paris and returned to his olive groves in the south -with the hope of being able to satisfy his creditors. He left behind -him Victorien, aged twenty-two, who was struggling to displace with -studies in surgery and medicine his dreams of becoming a poet and -dramatist. But he could not change his gods. A youth who had read -before he was twelve years old the works of Molière, who had -enthusiastically studied archæology and important periods of the -world's history and who had delved deeply into all literature, -especially into the works of master poets and playwrights, was not -made of stuff moldable into something other than his true self. -Saddened by the death of two sisters and left alone by his father, -Sardou continued his medical studies, meanwhile residing in a garret. -His existence would have been extremely miserable had he not been -able to see an occasional play by Hugo, and to satisfy infrequently -his great passion for the opera. In referring to those days of -struggle, he said: - -"Ah, don't talk to me of music; that is one of my passions. I remember -a long time ago when I went to the opera--not in a box of stalls, but -right up in the gallery--to hear '_Les Huguenots_' or '_Le Prophèté_' ---I delighted in Meyerbeer--the seats were four francs apiece. I had -probably pawned my best coat to get there; but there I was, and I -never think of those costly evenings without remembering how I enjoyed -them, and felt a certain sense of gratification that I have never -experienced since." - -Sardou's inspiration to follow literature began with an incident which -has often been related. In a mood of wretchedness caused by poverty -and the caging of his ambitious soul in a bleak garret, he stood in a -doorway near the College of Medicine to escape the rain and his -thoughts turned to suicide. Obsessed with this desire, he walked into -the storm. A water-carrier, who instantly took his place of shelter, -exclaimed: - -"Ah, my friend, you do not know when you are well off." - -An instant later a block of granite fell from the building--which was -under construction--and killed the water carrier. Sardou accepted his -escape from death as an omen that he was destined to live and to -become great. Immediately he began those several years of desperately -hard work in which he served apprenticeship for his future career. - -Of this period of Sardou's life a writer who knew him well said: - -"Only those who have known the sting of bitter want can fully -appreciate the agony of the intellectual student's career. The eager -brain, the famished body, the long night-watches and hideous -nightmares, the struggle to make both ends meet, to keep body and soul -together, the continual battle with poverty, pride, ambition, hope and -despair. Sardou's young life was such a struggle. He possessed a -valiant soul, and he did not give way; the more he had to work against, -the harder he worked, and every new trial fell like a pointless dart -against the steel armor of his resistance. He determined to become -some one, and he realized that the bridge which spans greatness and -nothingness is knowledge." - -Desperate but enthusiastic, Sardou toiled with his pen upon articles -for a great variety of publications, receiving poor pay, which he -supplemented with fees received for tutoring. He was a tireless -student. When he wrote upon topics pertaining to history or to -literature, he spoke with authority. The Middle Ages, the Reformation -and the great events of the past which made and unmade nations and -their policies appealed to his poetic temperament. He toiled day and -night, and amassed an amount of erudition seldom possessed by any but -scholars of renown. In the meantime he was working upon his first -plays. - -"These were the occasions when I could not afford sardines and dry -bread," said Sardou, "and I had to go to bed supperless." - -On April 1, 1854, the manager of the Odéon Théâtre attempted to -produce Sardou's play _Le Taverne des Étudients_, which the crowd -hissed from the stage without witnessing it, and brought -disappointment and sorrow to the young author. With the year 1857 -came the earliest rewards for Sardou's long years of labor: marriage -and the route to success. Poverty, lonesomeness, the cramped quarters -of a gloomy garret and the accompanying misery and hopelessness of an -unrealized ambition were not enough: an illness of typhoid fever must -bring despair as a climax. On another floor in the house resided -Mlle. de Brécourt, an actress, and her mother. When the young woman -heard that the quiet, studious young man whom she had often seen was -likely to die, her pity was roused and she became his faithful nurse. -In addition to saving Sardou's life, she was the means of introducing -him to Madame Déjazet, who established the Théâtre-Déjazet. In 1858 -Sardou and Mlle. de Brécourt were married. Sardou's plays found favor -with Déjazet, whose talents proved adaptable for portraying his -characters, and success followed success. In 1861 he was decorated -with the Legion of Honor. Nine years after she had married Sardou-- -during which time she had seen her husband attain fame and wealth-- -Madame Sardou died. Sardou continued to work and his fame became -international. Europe's greatest theaters were producing his plays. -In 1872 he was united in marriage with Mlle. Anna Soulié, daughter of -the curator of the museum in Versailles. The marriage was extremely -happy and the dramatist's success continued. In 1877 Sardou was -elected a member of the French Academy. Though immensely wealthy, -Sardou resided simply at his villa in Marley-le-Roi near Versailles. -He also had two country homes near Cannes, where his forefathers -lived, and a residence in Paris, which he occupied principally for -business purposes. Like Scott, Sardou had a great passion for books -upon every subject, and his home at Marley, like Abbotsford, -contained thousands of volumes. Honors from literary and art societies -throughout Europe came to him. In making appointments to posts in -which a knowledge of literature and the fine arts were important -qualifications, the French government consulted with Sardou, who was -considered an authority. The productive years of his life were serene -ones. He was very generous, always ready to encourage the aspirant, -and had no jealousies. His was a remarkable personality. The late -Edmondo de Amicis thus describes him: - -"Sardou looked a little like Napoleon, a little like Voltaire and a -little like the smiling portrait of a malicious actress which I had -seen in a shop window on the previous day. He wore a large black -velvet cap, below which fell long waving gray locks. He had a silk -hankerchief round his neck and was wrapped in a wide dark-colored -jacket, which looked like a demi-dressing gown. My attention was -riveted by his strange face, without beard and colorless, with a long -nose and pointed chin and irregular and strongly marked features, -lighted up by two keenly sparkling gray eyes, full of thought, the -glances of which correspond with the rapid motion of the thin and -flexible lips, and the acute yet kindly expression of the whole face, -sometimes illumined by a bright, slightly mocking smile, like that of -a quite young man. He did not look more than 70 years of age, and when -he spoke he seemed still younger. He spoke with the fluency of an -actor who abuses that power. It was not necessary to question Sardou. -He began to converse with a fluency, an ease and a vivacity of accent -and gesture which forestalled all my questions and satisfied my -curiosity with such an appearance of intimacy and confidence that I -was at first quite stunned, uncertain whether I was in the presence -of the most expansive and frankest man I had ever met or of the -profoundest and cleverest actor that the human mind can imagine." - -In his seventy-eighth year, at the time when he received the news of -the success of his last play, _L'Affaire des Poisons_, Sardou, who -had been convalescing from an illness of pulmonary congestion, became -suddenly worse and died in Paris on November 8, 1908. His funeral was -held on November 11 in the Church of St. François de Sales. The -obsequies were national in character. Like all those who had received -the Grand Cross of the Legion of Honor, Sardou was given a military -burial. Previous to the removal of the body from the house to the -church, eulogies were delivered before Sardou's intimate friends and -members of the Academy. Those present were Frenchmen distinguished -in art, literature, science and politics. Thousands of persons -representing every class of Parisian life--for Sardou's name was known -alike in mansion and tenement--stood with lifted hats as the funeral -procession passed on its way to Marley, and thousands followed the -hearse to the family burial place. From all parts of the world -telegrams of condolence were received by M. Sardou's family. From -Cairo Madame Sarah Bernhardt, whose fame resulted from her -interpretations of the characters in Sardou's plays, cabled: "France -loses one of its glories, Paris a friend, all the unhappy a protector, -and we artists our beloved master, Victorien Sardou." - -II - -Among those who discuss the drama there is a tendency to depreciate -Sardou's work. Such an attitude is probably only natural during a time -when homage is so universally directed to such realists and dissectors -of modern social life as Ibsen, Pinero, Brieux, Hervieu and Shaw. The -principal complaint brought against Sardou is the charge that he made -mechanical plays in which all material was subordinated to the plot, -that his characters are like marionettes made vocal and that he -"manufactured" theatrical pieces to portray the talents of certain -histrionic "stars." If these qualities alone are the basis for -condemnation of Sardou's plays, something more must be offered to -convince the public that he is not fit to stand among the modern -master dramatists. If they are requirements necessary for a playwright -to attain a world-wide reputation, to become a member of the -celebrated Academy and of numerous other societies in which high -scholarship is demanded for admission, one questions the consistency -of the statements of the critics; if plays containing these qualities, -presented by actors and actresses of international fame in the world's -principal centers of culture--where a play by Sardou was an important -public event--realized for their creator during several decades the -goal of every playrwright: success, fame and the accompanying -financial reward, then one not only questions the consistency of the -critics but also their qualifications for posing as "authorities" on -the drama. - -It is popular to depreciate Sardou, but much of this depreciation -would become admiration were it not for the fact that for those who do -not read French only a few of his plays are available in translations. -Students of the drama, therefore, are compelled to accept the opinions -of others instead of basing their knowledge upon a first-hand -acquaintance with Sardou's work. His high position among the -dramatists of France alone would demand an explanation of the reasons -why his productions appealed to cultured and cosmopolitan audiences, -which included scholars, diplomats, royalty--persons not likely to -waste time in flocking to see the work of a mediocrist. - -No one in the world ever understood better the technique of -playwriting than did Sardou. Both he and Ibsen recognized Scribe's -genius for technique: Sardou acquired Scribe's craftsmanship, -developed it and improved upon it; Ibsen used of it what he could -in his clinical excursions into the whys and wherefores of Life--the -one reflected the French spirit, the heritage of the epic and romantic -past, the social life preceding the fall of the Second Empire and the -national life since then; the other, grimly Teutonic in temperament, -mined to the roots of human life and ironically upheld the mirror to -all classes revealing the secrets of their souls. Into lighted -streets, into halls and mansions, into courts and capitols, into -palaces and into throne-rooms, Sardou passed studying minutely the -movements of his personages; Ibsen, with the attentive scrutiny of a -hospital aide seeking the wounded, turned his flash-light--a -flash-light with microscopic power--into dark corners, into alleys, -into humanity's every haunt. The great Frenchman and the great -Norwegian both studied medicine and gave it up before becoming -playwrights. Their selections of working materials were truly -characteristic of their national temperaments. Both have had an -inestimable influence upon the drama of all nations. - -Sardou was structural in his craftsmanship in the sense that he -created his plays with the skill of an artisan working with steel and -stone, and eliminated everything unnecessary in making his production -symmetrical. He was a realist in the sense that he never hesitated to -portray what he thought would convey his idea complete to the -audience. If a thrill of horror would effectively drive home a point, -he used it. In his satirical plays he was merciless in handling the -vanities and vagaries of society. While Sardou aspired to become a -playwright, he studied Shakespeare and regarded verse as the best -medium for presenting lofty themes, but after he studied the stage he -changed this view and wrote his principal plays in prose, though the -material is often admirably adapted for metrical expression. Sardou's -historical dramas are lofty in theme. They are true to their times, -and appeal universally to those interested in life outcropping from -mighty changes of conditions in the past. His deep knowledge of -history, art and archæology is evident in historical dramas in which -costumes, decorations, interior details, furniture and other -properties used for the setting compositely reproduce the atmosphere -of the period depicted by the action. None knew better than Sardou -the life about him. He studied personalities in their intricate -relationship in society. He never preached. He never sacrificed plot -in order to prove a thesis, thereby escaping the prolixity of which -some of the "realists" are often guilty. His plays have morals, but -they are skillfully hidden behind his technique, which supplements a -natural gift of analysis and an intuitive power for recognizing and -selecting subject matter pleasing to cosmopolitan Parisian audiences. -His comedies portraying contemporary life were, with a few exceptions, -enthusiastically received, and were the stepping stones by which -actors and actresses rose to world-wide celebrity. For impressive -compositions Verdi and Offenbach found inspiration in Sardou's -creations. - -The result of Sardou's long years of hard work was a prolific -production of comedies and dramas. The principal ones and the dates -of their production were as follows: - -_La Taverne des Étudiants, 1854; Les Premières Armes de Figaro, 1859; -Les Pattes de Mouche, 1860; Nos Intimes, 1861; La Papillonne, 1862; -Les Vieux Garçons, 1865; Patrie!, 1869; Fernande, 1870; Andréa, 1873; -La Haine, 1874; Daniel Rochat, 1880; Divorçons, 1880; Theodora, 1884; -La Tosca, 1887; Cléopâtre, 1890; Thermidor, 1891; Madame Sans-Gene, -1893; Gismonda, 1894; Paméla, 1898; Robespierre, 1899; Dante, 1903; -La Sorcière, 1903; L'Affaire des Poisons, 1907._ - -III - -Sardou's marvelous theatrical technique is nowhere better exemplified -than in _La Sorcière_, one of his last tragedies. Bigotry, love, -superstition and persecution are the predominating elements of the -action, which is laid in Granada immediately after the conquest by the -Spaniards. What better material for romance? The principal figures are -a Castilian officer and a cultured Moorish woman, who, ignoring an -edict of the Inquisition inflicting the death penalty upon alliances -between Christians and unconverted Moslems, have the strength to -assert their rights as normal human beings--and to suffer the -inevitable consequences. It is the depiction of a struggle for -individual freedom in which the common truths of the human heart beat -hopelessly for expression against the bigotry of the masses and the -bigotry of those who not only know better but who also use it as an -agency in strengthening their own power. The result is the old -struggle between knowledge and ignorance, between love for one's -religion and country and for the satisfaction of the soul's desire -regardless of traditions discarded and of idols knocked down in the -accomplishment of that desire. In this process of emerging, of -transition, in this sudden seizure by unknown forces upon new -combinations of circumstances, in this bidding farewell to the old -while hailing with allegiance that of which we are unaware until the -clarifying moment arrives, lies the essence of tragedy. "It is -possible," said the late William James, "that Being may be a great -sea of consciousness, some of the fag ends of which are human minds." -It is in the interplay, in the constant weaving and raveling of that -cosmic pattern which we call life that the dramatist finds the few -wisps of experience suitable for interpreting his own understanding -of a certain phase of existence. "The representation of a great -misfortune alone is essential to tragedy," declared Schopenhauer. -"Characters of ordinary morality, under circumstances such as often -occur, are so situated with regard to each other that their position -compels them, knowingly and with their eyes open, to do each other -the greatest injury without any of them being entirely in the wrong." -Under this definition, _La Socrière_ qualifies exactly as a tragedy. - -In creating his plays Sardou did not attempt to conform to any -particular definition. He was independent in choice of materials and -in method of handling: the purpose justified the treatment. In _La -Sorcière_ he showed his hatred of tyranny, and he puts into the mouth -of Zoraya, the Moorish woman, in that powerful seventh scene of Act -IV, one of the bitterest denunciations of the Inquisition ever made -through the drama. Sardou studied historic events with the eyes of a -scientist. He was interested in hypnotism and in spiritualism. While -studying the Middle Ages he concluded that the so-called sorcery of -that time was nothing else but hypnotism, long known to the Orientals -and introduced by them among the Moors. It was only natural that an -age, so reeking with superstition that it persecuted the man who -declared that the earth revolves around the sun, should brand as an -agent of the devil any one familiar with hypnotic power. Through a -feminine character in whom were combined the best qualities of -Mohammedanism and the gift of healing, Sardou was able to throw the -strongest light upon superstition in the Middle Ages. - -The plot of _La Sorcière_ is the work of a master craftsman. In -motivation and in development of situation the play is so well rounded -that no part can be removed without spoiling the whole. The action -opens with a humorous scene in which a petty officer vested with -authority is bullying a crowd of peasants, among whom is supposed to -be the culprit who stole the corpse of an executed criminal publicly -exposed--the body being that of an unconverted Moor who had loved a -Christian girl. In this scene Sardou begins to draw his background of -superstition by means of the words of the ignorant natives, who jump -at a suggestion of one of their number, and denounce as the thief -Zoraya, the "Sorceress." In a scene poetic with romance and beauty Don -Enrique and Zoraya, whom he wishes to arrest, drift into the same -relation which resulted in the death of the young Moor, whose body -had been stolen. This act is the great corner-stone of the drama. -Sardou's skillful motivation prepares the reader for developments in -the coming four acts, but this craftsmanship is so carefully hidden -that the relations of incidents are so natural that they come in the -form of surprises. The sequence of the events is perfect. The -transition from the first to the second act, in which develop Don -Enrique's dangerous secret relationship with Zoraya and his -inexplicable reason for discontinuing his visits to her, is perfectly -natural, and the last scene of the act, consisting of only a few -phrases of explanation, suddenly reveals such an astonishing -complication that the effect is nothing short of tremendous. With a -climax so effective the entire foundation of the action is laid. We -have learned that the Christian girl whom Zoraya has begun to cure -with hypnotic power is to become the bride of Don Enrique, a fact -which she did not know before the girl was taken away happy with the -thought that she should now be more acceptable to her lover. - -In the third act Don Enrique's character is tested in a struggle -which he loses with overpowering circumstances. Gossips open the -action with a frivolous discussion of the marriage of Don Enrique and -the governor's daughter. They satisfactorily explain that the parents -of the couple years before had arranged the marriage. They also -gossip about sorcerers and sorceresses. From suggestions we learn that -Zoraya is in danger, and that her relations with Enrique are known. -Close by the nuptial chamber begins the clash of fateful -circumstances, which decide within a short time the destinies of -Don Enrique and Zoraya. Near the conclusion of this act we have the -purest essence of tragedy, if we accept Aristotle's statement that -tragedy is an imitation of actions which are terrible and piteous. -Enrique, after nobly refusing to renounce his country and his religion -and to flee with Zoraya to Morocco, is forced to become with her a -fugitive after he unintentionally kills an agent of the Inquisition -who suddenly detects them and attempts to arrest Zoraya. Flight and -pursuit of Don Enrique and Zoraya close the act. This scene is one of -gripping intensity. - -The merciless execution of power, the intolerance and tyranny of the -Holy Inquisition are portrayed in an exemplification of a session of -that body in the fourth act. Again the action to be developed is -disclosed by the conversation of monks waiting for the council to -convene. We learn that Zoraya and Don Enrique have been captured. We -know the penalty likely to be pronounced upon them, but we remember -that it is Zoraya alone who has the power of restoring to -consciousness the daughter of the governor and bride of Enrique, who -is deeply sleeping on her nuptial night. The unrelenting cruelty used -by the Inquisition in making the captive hag and the unfortunate young -girl testify against Zoraya, from whom they wring a confession to -sorcery in order to free Don Enrique, rouses pity and indignation, -which increase to highest pitch when her lover, who stands at the side -unobserved by her until she has told all, is deceived into believing -that she is a sorceress and that he has been victimized. But this has -not been done without bringing upon the members of the Inquisition -Zoraya's storm of righteous denunciation. There is anguish unutterable -when Don Enrique, who does not know that Zoraya has made the greatest -sacrifice that a human being can make, accuses her of being false. To -this injustice is added the climax of the act which closes with this -awful sentence: "We shall burn her after vespers." - -The final act is short and intense. Zoraya has been sentenced to -death, but we know that she still holds the possible price of her -freedom. The final setting of the play is magnificent: it is -characteristic of Sardou. Here is a street scene in front of a great -cathedral near which is a pyre ready for burning Zoraya. Into this act -are packed all of the color, the pomp and the pageantry of the church -and chivalry of the heroic age in Spain. There is a wonderful -procession, a stirring mob scene, intensified with the solemn sounds -of religious chanting, the roll of organ music and the resonant boom -of tower bells. Don Enrique learns of Zoraya's sacrifice. As we -expected, she is given her liberty on condition that she restore to -consciousness the governor's daughter, a performance that causes the -mob, already incensed by fanatical monks, to demand her death -immediately after receiving the liberty which she deserves. Don -Enrique nobly chooses death with her. - -The conclusion of the action shows Sardou's wonderful technique at -its best. The sequence of events is natural and the transition from -situation to situation is motivated so realistically that the threads -of the structure cannot be detected. Wide passages cross and recross -until they become intricately involved in mazes which ultimately lead -to the foot of an unscalable blind-arcade. Then suddenly there come -from an unexpected place a glimmer of light, a swift opening of doors, -and all is seen at a flash. This is not ordinary stagecraft--it is -the necromancy of stagecraft! - -* * * * * * * - -The translator has endeavored to follow as closely as possible _La -Sorcière_ as Sardou wrote it, remembering that Browning said in the -introduction to his translation of the _Agememnon_ of Æschylus: "I -should require him [the translator] to be literal at every cost save -that of absolute violence of our language." - -Charles A. Weissert. - - -CHARACTERS. - -Cardinal Ximénès, Archbishop of Toledo and Grand Inquisitor. - -Don Enrique de Palacios. - -Lopez de Padilla, Governor of Toledo. - -Cardenos, an agent of the Holy-Office. - -Cleofas, physician of the Holy-Office. - -Oliveira, surgeon of the Holy-Office. - -Ramiro, esquire of Palacios. - -Fray Eugenio Calabazas, Fray Teofilo Ibarra, Fray Miguel Molina, -Fray Hernando Albornos, Inquisitors. - -Farez, a Moorish muleteer. - -D'Aguilar, notary, and recorder of the Tribunal. - -Torillo, an executioner. - -Don Antonio, Rioubos, Velasco, Cristobol, Gentlemen. - -A Goatherd. - -Gil Andrès, Guard. - -Ginès. - -A Friar. - -First Peasant. - -Second Peasant. - -Zoraya, a Moorish woman. - -Afrida, an aged peasant woman. - -Manuela, a young peasant woman. - -Fatoum, a converted Moorish woman and governess of Joana. - -Aisha, one of Zoraya's servants. - -Joana, daughter of Padilla. - -Zaguir, a young boy in Zoraya's service. - -Doña Rufina. - -Doña Syrena. - -Doña Serafina. - -Doña Fabia. - -A Peasant Woman. - - -Peasant men and women, archers, people of all classes, gaolers, monks, -etc. - -The action takes place in Toledo in 1507. - - -THE SORCERESS -was presented -for the first time in the Théâtre Sarah-Bernhardt, in Paris, -on December 15, 1903 - - -THE SORCERESS - - -ACT ONE - -Scene.--On the heights overlooking the left bank of the River Tagus. -In the foreground is a road. Flinty rocks, plants and shrubs rise -from right to left towards higher rocks above which they disappear -in a gap. From the gap to the foreground a stony pathway descends in -a curve. At the foot of the scene, below, is the Tagus lying deep -between its banks, and the Bridge of San Martino. On the heights -beyond are the city, the Mirador and the cathedral of San Juan del -Rey in construction. The night is clear and starry. A crescent-shaped -moon gradually disappears to the right behind the rocks near the end -of the act. - - -Scene One - -[Ramiro, Arias, Farez, peasant men and women, three archers] - -[Arias and the Archers are clutching and dragging towards the right -peasant men and women, whom they have come to arrest. All of the -prisoners are loudly protesting, except Farez, who is silent all the -time.] - -RAMIRO. Go, march on, there! (To the archers) Arrest those laggards -and keep them for me! (The peasants protest) Silence, there! You will -explain to the governor in Toledo. - -[The archers again begin to drive before them the prisoners, who renew -their protests and lamentations.] - -ENRIQUE. (In a loud voice at the right behind the scene) Hold on! -Wait! What is that noise? - -[All stop and listen. Arias goes to the right of the declivity and -looks down.] - -RAMIRO. (To Arias) Those shouts! Go and see who is uttering them. - -ARIAS. Some cavaliers passing along the road. - -ENRIQUE. (Behind the scene) Do you hear me? Who is there? - -ARIAS. (To Ramiro) It is our commander, Don Enrique Palacios, who is -returning home from the chase. - -RAMIRO. (Running to the right) He arrives opportunely. (Addressing -respectfully, hat in hand, Enrique behind the scene.) My lord, it is -I, your esquire, Ramiro. - -ENRIQUE. (Behind the scene) What are you doing there? - -RAMIRO. Making arrests, my lord. And, may I venture to pray Your Honor -to dismount and climb up this rough path? We have warrants which are -very important. - -ENRIQUE. (Outside) Very good!--I will come. (Murmurs of satisfaction -from the captives.) - -RAMIRO. Here is our general, Don Enrique Palacios, commander of the -archers and cross-bowmen of the city. He will examine you on the spot. - -THE PEASANTS. (Together, each saying a phrase) Good!--Good!--He is a -good man!--He will listen to us and set us at liberty! - -RAMIRO. (He goes to meet Enrique at right) Up this side, my lord, if -you please! - - -Scene Two - -[Those in the preceding scene, Enrique, two valets of the hunt] - -ENRIQUE. (Looking at the captives) Oh, ho! This is a fine catch with -one stroke of the hand! - -RAMIRO. I was going to conduct these people to Toledo to be examined. -Your Honor may spare me the pain. - -THE PEASANTS. (All speaking at the same time) Mercy, Excellency!-- -Pity!--Pity!--We are innocent!--We did not do it! - -RAMIRO. (Exasperated) Peace! Keep quiet, there, brawlers! Do not -bewilder his lordship with your croakings! - -ENRIQUE. Be considerate, Ramiro. They have the right to speak in their -own defence. (He is assisted in stepping upon a piece of rock at the -right of the scene. He seats himself on a boulder after giving his -cross-bow to Arias.) What has caused this disturbance? - -RAMIRO. Your lordship has not forgotten a young Moorish armourer -employed on his estate, named Kalem? - -ENRIQUE. Kalem? Yes! a clever artisan and also a handsome lad, who -worked for me. - -RAMIRO. Unfortunately one of those black, obstinate rebels, who will -not admit since the conquest of Granada by our glorious sire (he -uncovers his head and bows) that the dominion of the Moors and the -cult of their great devil Mohammed have ended in Spain. - -ENRIQUE. Yes. Whenever I urged Kalem to become converted he always -refused. - -RAMIRO. He went from bad to worse--defying a royal edict, which -forbids all intimacy between an unconverted Moor and a Christian, he -betrayed the daughter of a neighbor, a good Catholic. For that offence -the two culprits, in conformance with the law, have been punished -during your lordship's absence: the girl thrown into solitude for life -in the convent of Mercy!--and Kalem, stoned to death! - -ENRIQUE. Ah! the poor boy! - -RAMIRO. Yesterday at sunset, up there at the foot of an elm!--After -which I left the body fastened to the tree-trunk, according to custom, -to serve as a warning to these accursed heathen. But, no! They are -enraged! The body has disappeared! - -ENRIQUE. When was it removed? - -RAMIRO. Last night. - -ENRIQUE. By whom? - -RAMIRO. I do not know. The news was slow in coming and I was ordered -to go out during the night and surprise the residents of this vicinity -in their beds and bring them to an inquest. - -ENRIQUE. And the result? - -ARIAS. Nothing!--They have nothing to say! - -THE PEASANTS. (All together) We know nothing, your lordship, nothing! -So truly as there is a God, we are innocent. (Arias hushes them with -a gesture.) - -ENRIQUE. Is there among them a relative or friend of Kalem? - -ALL. Not one, your lordship. - -A PEASANT. None, my lord! - -ENRIQUE. No one who would have a reason for stealing his body? - -ALL. (All at the same time) Not one, my lord!--Far from here!--A dog -of a Mussulman!--We are good Christians! - -A WOMAN. We should have stoned him to death a second time! (They hear -voices outside, at left.) - -RAMIRO. Keep quiet, there!--Listen! - -ARIAS. (Looking) Here is something more to please us. - - -Scene Three - -[The same, the goatherd, an archer. They enter at left] - -AN ARCHER. (Dragging the goatherd) Go in! you beggar! - -THE GOATHERD. (Obeying) Lord! have mercy! - -THE ARCHER. (To Arias, out of breath) He attempted to flee, the fool! -He ran faster than his goats. - -ENRIQUE. Is he a goatherd? - -THE ARCHER. So he says. - -RAMIRO. (Taking the goatherd by the collar and compelling him to fall -upon his knees before Enrique) Answer, villain, Don Enrique Palacios! - -ENRIQUE. It is you, then, who stole the body? - -THE GOATHERD. Me! my Sweet Deliverer!--touch a corpse! - -ENRIQUE. Then why did you run? - -THE GOATHERD. (Lowering his voice) For not speaking--and for fear she -would revenge herself upon me for exposing her! - -ENRIQUE. And who--is she? - -THE GOATHERD. (Looking nervously about) She who took the body. - -ENRIQUE. A woman? - -THE GOATHERD. (Half aloud) The Moorish woman! - -THE OTHERS. (Seconding him) The Sorceress!--Yes!--Yes!--It was -she!--It was she! - -ENRIQUE. The Sorceress? - -THE GOATHERD. Certainly, my lord. I have often seen her at night -wandering on the heights and making conjurations to the moon, so -I was not surprised to see her up there at daybreak this morning -making curious gestures, in this way--I hurried my flock to avoid -her--when two nigger devils approached her along that path! I was -seized with a foolish fancy to know what these three were charming, -and I clambered and crawled over the rocks toward them. But she -pricked up her ears, the magician, and scrutinized the slope where I -was lying with such a terrible gaze that I rolled down and scampered -away, saying to myself: "I hope that her eyes have not changed me -into a brown owl, or into a bad beast!" - -ENRIQUE. Then she is the guilty one? - -THE PEASANTS. (Eagerly) It is she, your lordship; it is the Sorceress, -without a doubt. - -ENRIQUE. And who among you believe she is a sorceress? - -THE PEASANTS. Oh, all! - -FIRST MAN. It is believed everywhere. - -A WOMAN. She has caused enough misfortune with her deviltries! - -SECOND MAN. It has been proved that words from her will give rot to -the sheep. - -A PEASANT. And sickness to men. (Murmurs of approbation.) - -THE WOMAN. Listen to the testimony of the wife of Zuniga, a -wet-nurse, whose milk supply she caused to go dry. - -FIRST MAN. And to José Barilla on whose barn she caused lightning to -descend. - -THE WOMAN. Oh! the wicked she-goat! - -ANOTHER WOMAN. She is the plague of this community! - -SECOND MAN. Arrest her, my lord!--It is she who stole the body! - -THE GOATHERD. To make magic powders of the bones! - -ALL. Yes! Yes! - -THE GOATHERD. (To Farez, who shrugs his shoulders) It is well for you -to shrug your shoulders, you! - -FAREZ. (Coldly) Me? - -THE GOATHERD. Yes. You who act so cunningly. - -THE WOMAN. Yes. He laughs at all we say. - -FAREZ. At all of your stupidities! (All protest) - -ENRIQUE. Come forward. Pay no attention to them. What is your name? - -FAREZ. Farez. - -ENRIQUE. A Moor? - -THE GOATHERD. (Maliciously) But converted. - -ENRIQUE. What is your trade? - -FAREZ. Muleteer. - -ENRIQUE. Then, according to your opinion, these people are wrong? - -FAREZ. This is all idle talk, my lord--the ravings of old women. -(Cries from the peasants, whom Ramiro silences.) - -ENRIQUE. Do you know this Moorish woman? - -FAREZ. Zoraya? - -ENRIQUE. Is her name Zoraya? - -FAREZ. Yes, my lord; that is to say, in the Arabic tongue, "The Star -of the Morning." I have long known her. I was in Granada before the -conquest, employed as a servant by her father, Abou-Abassa, a scholar -and physician of the last King Boabdil. - -ENRIQUE. Maiden, woman or widow--this Zoraya? - -FAREZ. Widow, my lord!--Sometime before the siege she was married to -a very valiant Moor, who was killed in a sortie. - -ENRIQUE. Being now a Granadan, does she reside in Toledo? - -FAREZ. After the capture of Toledo, the wise Bishop Talavera, Governor -of our city, took a strong fancy to Abou-Abassa because of his great -knowledge and made him come here to reside. The daughter, of course, -lived with him. The mother is no longer of this earth. - -ENRIQUE. Does she reside in Toledo? - -FAREZ. No, my lord; but near here on this mountain-slope in a house -built by her father, who died in the past year. She lives there alone -with her old servants and her few surviving friends. Her door is -always open to those of her race and her religion who appeal to her -in need or in sickness. - -ENRIQUE. Ah! She likewise practises healing? - -FAREZ. Free of charge! Her father left her great wealth and the -knowledge of his art. Those of her own race are not the only ones who -have sought her aid. (Addressing the peasants) More than one Christian -who has secretly begged gold and medicines from her now shows his -ingratitude by accusing her of causing hail to fall upon the fields. -(The peasants protest.) - -ENRIQUE. (Silencing them) That is enough! (To Ramiro) Keep the -muleteer. Release the others. (Exclamations of joy.) - -THE PEASANTS. Ah, thanks! your lordship! God will reward you! Long -live His Excellency! - -ARIAS. (Pushing them along) Go! Go! Disperse without noise! (They -leave from both sides of the scene.) - - -Scene Four - -[Enrique, Ramiro, Arias, Farez, later Zoraya] - -ENRIQUE. (To Farez, rising) You say that she resides near here? - -FAREZ. (Pointing to the left, below) On this hillside--a white house, -half way up the slope, with beautiful gardens and a terrace mirrored -in the waters of the Tagus. - -ENRIQUE. You may conduct me there. (To the archers and valets) Go! -(They go out.) - -FAREZ. If Your Grace will follow me--But she is not far--There she is! - -ENRIQUE. The Moorish woman? - -FAREZ. It is she herself--I see her coming up the slope. - -ENRIQUE. (To Farez) You may return home. (To Ramiro and Arias) You, -here, step to one side and keep quiet. And observe her practicing her -black art. - -[Farez disappears at right, Enrique and Arias going to the left, -where, screened by rocks and bushes from Zoraya's view, they watch -her. Zoraya appears near the gap, coming slowly up the path into the -clear moonlight as she reaches the summit. She carries a silver -sickle in her hand; on her arm a sheaf of wild flowers. She descends -the pathway slowly, gathering flowers as she passes.] - -ENRIQUE. (To Ramiro behind him) That is a strange task! - -ARIAS. (Behind Enrique and Ramiro, rising to see) See, my lord, in her -hand? - -ENRIQUE. (In a low voice) That silver sickle? - -ARIAS. Which shines like the crescent moon. - -RAMIRO. The crescent of Mohammed--the moon is a Saracen and a -sorceress! - -ENRIQUE. Speak lower!--What curious harvest brings her into the midst -of these rocks? - -RAMIRO. She is gathering bad herbs for her philters and poisons. - -ENRIQUE. A beautiful creature, truly. See the grace and suppleness in -her movements. - -RAMIRO. One might say as much of a serpent. - -ENRIQUE. For shame! - -RAMIRO. Your Honor should be careful or this she-devil may throw over -him the same charm that Circe of yore threw over Ulysses. - -ENRIQUE. (Joking) Am I like the goatherd to believe that she will -change me into a beast? - -RAMIRO. No! But through love--it is the same! - -ENRIQUE. (Quickly) Enough!--I must speak to her! (He advances into -the full moonlight.) Zoraya! - -ZORAYA. Who is calling me? - -ENRIQUE. I, Enrique Palacios, commander of the archers of the city. - -ZORAYA. What does his lordship desire? - -ENRIQUE. The truth!--It was you and two accomplices who took down and -carried away Kalem's body? - -ZORAYA. It was, my lord. - -ENRIQUE. For use in some conjurations--for you are a magician, it -appears? - -ZORAYA. (Quickly) Me? - -ENRIQUE. So it is said. - -ZORAYA. By those who hate me because I am Moorish and faithful to the -law of the Koran. (Murmurs from Arias and Ramiro.) - -ENRIQUE. Peace, there. (To Zoraya) So you have not come here to work -some magic in the moonlight, or to meet an accomplice in your -sorceries? - -ZORAYA. I come to gather herbs in the night and to be alone; and in -moonlight because it is easier to recognize them. - -ENRIQUE. What do you do with them? - -ZORAYA. From the hearts of these flowers, my lord, I extract essences -and perfumes for myself and ointments, elixirs and powders for curing -diseases. - -ENRIQUE. Are these remedies, these poisonous herbs? - -ZORAYA. Yes; wholesome and healing. The vermilion fruit of the black -henbane and that of the deadly nightshade or belladonna cure delirium -and insanity. They also put sufferers to sleep. Also these others. -They are like all things of the world, in love the same: according to -the case and the dose, cure or kill. - -ENRIQUE. Oh! by that I understand that you deal in love philters. - -ZORAYA. What need of them, my dear lord?--Love is born of a smile, -rather than of a philter. - -ENRIQUE. (Jesting) Do you often make that test? - -ZORAYA. Never! - -ENRIQUE. (The same) Oh!--so chaste--in spite of those eyes, there? - -ZORAYA. Through pride! It is not necessary to search for dignity in -me! - -ENRIQUE. Bless me! the beautiful! You are very difficult.--But let -that pass!--If it were not for some evil work why did you steal -Kalem's body? - -ZORAYA. The human flesh is not made to feed ravens and wolves. - -ENRIQUE. You have buried it? - -ZORAYA. In a crevice in the rocks--you may assure yourself. - -ENRIQUE. A criminal. - -ZORAYA. To me he was not a criminal, whose only crime was to have -loved. - -ENRIQUE. A Christian!--in spite of the law which forbids love between -your race and mine. - -ZORAYA. It is love, however, which will reconcile them in the long -run. - -ENRIQUE. Ah, well! to justify that you shall explain to His Eminence -the Cardinal Ximénès. - -ZORAYA. (Frightened) The Inquisitor! - -ENRIQUE. It is to him that I must take you. - -ZORAYA. (The same) Oh, no, my dear lord! No! You must not say that. - -ENRIQUE. Why not? - -ZORAYA. You know that the high priest detests us and persecutes us. -You do not want to injure me; for you are good---- - -ENRIQUE. How do you know that? - -ZORAYA. Oh, I see it! - -ENRIQUE. In truth, what indications do you see? - -ZORAYA. Those which my father revealed to me. - -ENRIQUE. Of the nature of men? - -ZORAYA. And their destinies. - -ENRIQUE. Do you read this in the stars? - -ZORAYA. My knowledge does not come from them.--But through the -crystal, the mirror, the silver disc and the lines of the hands. - -ENRIQUE. Ah! By God!--I am curious to see what you read in mine!--Come -here! - -(He seats himself on a large stone at the foot of the path, Zoraya -goes down to him after putting down her bouquet of flowers and -plants.) - -RAMIRO. (Low to Arias during this part of the scene) Ah! the -bewitcher!--See how she takes him little by little into her coils in -order to escape punishment. - -ZORAYA. (Stands near Enrique, who holds out his left hand for her -inspection) You are loyal, my lord, and brave--but your will is -feeble and unsteady. - -ENRIQUE. Where do you see that? - -ZORAYA. In the shape of your head and the first phalange of your -thumb, which is short--I see here that you are subject to sudden -and terrible bursts of anger. - -ENRIQUE. (Smiling) It is true! (To Ramiro, without turning round) -Is it not, Ramiro? - -RAMIRO. (Grumbling in a low voice) Rain of Heaven! Why has he not -strangled this accursed woman? - -ZORAYA. (In the same vein) The life-line, beautiful at the -beginning--stops short--danger of death--struck as with lightning! - -ENRIQUE. (Gaily) A soldier's death--so much the better! Seat -yourself; you will be more at ease. (He makes room for her to sit on -the stone.) - -ZORAYA. (Seating herself, continues in the same vein) These wrinkles -which cross at the base of the thumb show an inclination very--very -amorous! - -ENRIQUE. Oh! as to that--Yes! - -ZORAYA. This deep red line, which connects the thumb with the -life-line--a passion! Oh!--that! Like she who possesses you!--It will -end only with your life! - -ENRIQUE. Then it is to be returned? - -ZORAYA. I do not know--why should one be troubled about that? - -[While looking at his hand, Zoraya leans more and more against -Enrique, who is intoxicated by the nearness of their persons, by the -Arabian perfume on her hair and by the warmth of her hand.] - -ENRIQUE. (Rising in order to lean over Zoraya's neck) What flower -have you robbed of this perfume? - -ZORAYA. The golden cassie! - -ENRIQUE. It is exquisite!--You who read the future so well in the -hand--(She attempts to withdraw her hand) No! No! Do not take away -your hand!--do you also know how to read the present in my thoughts? -(He turns Zoraya's face gently towards his own.) - -ZORAYA. (Returning his ardent gaze) Yes! (In a low voice) You think -that I am beautiful and desirable! - -ENRIQUE. (Quickly) Yes. - -ZORAYA. (The same) But I am a Saracen, a pagan, an outcast! I am one -whom you have not the right to love! - -ENRIQUE. Therefore, you are more desirable! - -ZORAYA. (The same) Don't you find the royal edict which would punish -us very severe: I thrown into the oubliette--you sent to the galleys -or to the stake? - -ENRIQUE. Too severe--certainly! - -ZORAYA. Wasn't Kalem excusable for risking such a cruel fate? - -ENRIQUE. Yes. - -ZORAYA. And doesn't she, this unfortunate girl who had not the -strength to resist the madness of a similar love, deserve pity? - -ENRIQUE. The Christian girl! - -ZORAYA. Ah! I understand why she forgot that she was a Spaniard and -a Catholic and became only a woman, simply a woman!--O Nature! the -victory was thine!--I envy her for having been given a body to be -loved and adored without fear of the torture which menaces this -world--and the damnation promised in the next! - -ENRIQUE. You could be so brave as she? - -ZORAYA. (Rising) Ah! certainly, yes!--who could be braver than -she!--Can your race produce a Kalem? If so, he is worthy of me! I -promise hours of beauty and rapture to him who does not fear the -executioner and who will brave the flames at the stake for that which -the sun of Africa has set burning in my veins!---- - -ENRIQUE. (Taking her in his arms) I shall be that man! (She pushes -him gently away. He recovers his presence of mind and quickly -withdraws) Ah! demon! You have intoxicated me! Go away from me! - -ZORAYA. Adieu, then, my dear lord. - -ENRIQUE. (Turning) Adieu!--Yes, adieu!--It is better so! (To Ramiro -and Arias) Let that woman go! (Picking up her flowers, she slowly -reascends the slope) What creature is that!--her hand burned in mine -and her gaze set my brain awhirl! - -RAMIRO. I have a remedy, my lord! Say a pater quickly and repeat an -ave twice to break the charm! - -ARIAS. (Preparing to shoot an arrow from his cross-bow at Zoraya) I -have a better one!--Kill the beast, kill---- - -ENRIQUE. (Seizing his arm) Ah! brute!--Stop! (He passes the cross-bow -to Ramiro, then crosses the scene to the right to Zoraya, who has -returned on hearing the disturbance) Go! Go! He will not make another -attempt. But, I want never again to find you in my path! - -ZORAYA. (Standing in the middle of the path) "No one," says an Arabic -proverb,--"no one in the world today has seen the dawn of tomorrow." - -ENRIQUE. (To his men, who have rejoined him at right, while he still -watches Zoraya) Let us hasten away from here! - -(Curtain) - - -ACT TWO - -Scene--A Moorish chamber with three arches. Beyond is seen a garden -similar to that of the Generalife of Granada, with a fountain and a -narrow canal bordered with trimmed yew trees and pots of red sandstone -containing flowers. The arch at the right gives access to a terrace -beyond which Toledo rises in the distance beneath a burning sunlight. -At the right of the arcade is the entrance to Zoraya's sleeping -chamber. On the same side is a small door. In contrast with the -spreading blue of the heavens and the great heat on the fields and -garden, the room conveys an impression of coolness. On the floor are -tiles laid in mosaic. In the center of the scene is an elaborate -fountain basin surrounded with cushions. On the ceiling are beams and -panels of cedar. To a height of about six feet, an ivory-colored -border surmounted with a blue earthenware moulding extends about the -room. The three arches are closed at will with heavy and rich -portières. To the right is a little low table inlaid with ivory and -nacre. There are several cushions on it. Against the wall stands an -Arabian coffer. Here and there are large Moresque vases containing -palms and bouquets of flowers. It is morning. There are sounds of -distant bells, which shortly cease to ring. - - -Scene One - -[Aisha, Zaguir] - -[Aisha draws open the curtains in the right arch. Zaguir appears at -the foot in the garden and cautiously calls Aisha.] - -ZAGUIR. My aunt!--My aunt! - -AISHA. (In an undertone, turning) What?--Who?--Who is calling me out -there? - -ZAGUIR. (In the same voice) I have something important to tell you -while the mistress is still here. - -AISHA. Something serious? - -ZAGUIR. Yes. - -AISHA. Then come in and speak quickly. (Zaguir goes toward her) What -is it? - -ZAGUIR. Here!--last night at sunset, I saw sitting and conversing -near the path which leads down toward the bridge of San Martino, -perhaps a hundred paces or more from this house, two men who were not -mere passers-by, or residents of this neighborhood. When the sun rose -this morning they were still there, lying behind some fig trees, as -if they had passed the night in watching. - -AISHA. (Disturbed) The same!--you are positive? - -ZAGUIR. Positive!--They are still there. You can see them. (They -cautiously go to the terrace at right) Stop! they are standing at -present. - -AISHA. There are three of them! - -ZAGUIR. Yes!--the one with the grizzled beard was not there. He has -just arrived. - -AISHA. Be careful in returning. (She returns to the center of the -scene.) - -ZAGUIR. (The same) As they have been there since last evening, it must -be that they are lying in wait for some one. - -AISHA. And whom? - -ZAGUIR. (With embarrassment) Perhaps those who come at night and -return at dawn. - -AISHA. (Severely) What did you say? - -ZAGUIR. (Quickly) Don't be angry--I am only warning you! Otherwise, I -should have said nothing. - -AISHA. And what do you know, naughty boy? - -ZAGUIR. Only the worst of things. For example, that he comes down the -slope and enters through the orchard gate, which has a key; that he -steals along in the shadow of the arcades until he reaches here and -that he goes away in a similar manner--on foot as he comes, without -entrusting to us his horse. - -AISHA. Above all you have not mentioned this? - -ZAGUIR. Indeed to no person!--it is serious! - -AISHA. He is a Moor, a refugee in the Sierra, a rebel who comes -secretly to obtain medicine for his wife who is ill. - -ZAGUIR. Poor woman!--to consume all the remedies which he has -obtained every night during two months! - -AISHA. You presumptuous boy! - -ZAGUIR. Do not call me after all kinds of beasts, auntie dear! I don't -ask you who this unknown is; he concerns me not. But I know truly that -I should be cut in pieces before I would whisper a word. You may tell -your mistress that! - -AISHA. Allah protect me! I shall not tell her that you know. - -ZAGUIR. As you wish! But whisper to her that they are watching her -house. (The bells again begin to ring.) - -AISHA. And in vain for two days. - -ZAGUIR. Yes, fortunately!--He did not come last night, or the night -before. - -AISHA. And Zoraya is worried enough!--Go, thou!--Quickly!--I hear her! - -[Zaguir is going out when Zoraya appears, parting the portières at -the left.] - - -Scene Two - -[The same persons, Zoraya] - -ZORAYA. (Without seeing Zaguir, to Aisha) Who is here with you? - -AISHA. Zaguir, who has no right to be here!--but he has a good -excuse--since yesterday he has seen men prowling round the house. (She -points to the right, Zoraya crosses the scene and goes to the window.) - -ZAGUIR. They have passed the night under the fig trees. - -AISHA. (To Zoraya) On the hillside--look! Ah! They are going away--do -you see them? - -ZORAYA. Yes!--They are going down to the bridge. (To Zaguir) Follow -them! - -ZAGUIR. As far as the city? - -ZORAYA. All about the city--and see where they stop. - -ZAGUIR. Yes, mistress! - -ZORAYA. Go! Go! - -[Zaguir leaves, running.] - - -Scene Three - -[Zoraya, Aisha] - -ZORAYA. (At the window, constantly looking out) Why are those bells -ringing on this beautiful morning?--Is there some Christian festival -today? - -AISHA. I know of none. - -ZORAYA. (Reëntering the scene) After waiting for him all night I -finally fell asleep. They awakened me and I heard your voice. I -believed he was there, and I nearly betrayed myself by calling his -name in the boy's presence. - -AISHA. We must continue hoping that Don Enrique will come tonight. - -ZORAYA. Two nights without seeing him!--And no word from him--what -torture! And those bad dreams! Give me the spotted cards. - -[Aisha brings a pack of cards which she lays out on the little -table. The sound of the bells gradually dies out.] - -AISHA. He has probably been warned of the presence of those men. - -ZORAYA. Last night, yes--But the night before--did Zaguir see them -then? - -AISHA. No. - -ZORAYA. (Constantly occupied in arranging the cards) Then it was -something else. - -AISHA. Perhaps some sudden duty? - -ZORAYA. Doubtful! He is free! He has no father, no mother, no wife, -no children! - -AISHA. He commands the archers, the blunderbuss men and the -cross-bowmen of the city. He may be detained by the service. - -ZORAYA. For two days? - -AISHA. He is a member of the Council of Castile, which may have been -summoned to Aranjuez where the king is sojourning. - -ZORAYA. Yes, possibly that is so!--Ah! if only we had some means of -secretly writing to each other! - -AISHA. Allah protect us! That would be a quicker way of losing -ourselves!--we are threatened often enough, now! - -ZORAYA. Ah! (She raises a card.) - -AISHA. What? - -ZORAYA. The Cavalier of the Sword--now I am beginning to detect the -cause! - -AISHA. You see!--I thought until this minute that we should not be -left long in security! You had decided to do as the others advised -and flee to the coast of Africa to escape the persecutions of the -Nazarenes! Then, it was necessary to meet this man! Ah! misery upon -us! Ever since the time when he unexpectedly appeared while we were -breathing the evening breeze on the hill and when you so foolishly -threw yourself into his arms, I have believed that I hear the black -wings of Azrael, the angel of death, brushing the roof of our house! - -ZORAYA. "Our Destiny," says the Prophet, "is suspended from our -necks"--If it is written that I shall die for Enrique, then I may -likewise wish that it should be in his arms! - -AISHA. Oh! my daughter, you who were so chaste in your widowhood, why -are you enamored with this infidel, this enemy of the true God? - -ZORAYA. Do you know how and why I love him? I was at his mercy! A -word, and he could have thrown me into the dungeons of the -Inquisition. It was good of him to save my honor, a price which they -always extort from our other women. I will risk anything for him. -Those men were there to act as my safeguards during the night. I -shall wait for an opportune time and flee to Toledo before evening! - -AISHA. Rain of Heaven! - -ZORAYA. But what weakness is ours! He is young, he is generous in his -love, his gaze is tender!--when he liberated me, I could dream no -more of fleeing. - -AISHA. Alas! - -ZORAYA. (Returning to the cards) Ah! "The King!"--A powerful enemy! - -AISHA. You see! You see! - -ZORAYA. Sh----. - -AISHA. What? - -ZORAYA. I believe I hear him. - -AISHA. No! - -ZORAYA. Besides, he would not come before night! - -AISHA. Ah! I hope he will not come this evening--and never again! - -ZORAYA. Silence! You wretch! Do you want me to die of sorrow? - -AISHA. That would be better than being buried alive in an oubliette -as poor Kalem's accomplice and for a crime similar to his! - -ZORAYA. I should die first! - -AISHA. Allah! Allah! listen to her--Where is there a love that has -made any one reasonable! All these nights I have been there, I, -cowering on my couch waiting and listening and trembling at the least -noise. And you can be happy--you--with such a menace hanging over -you!--What folly! - -ZORAYA. (Rising and putting away the cards) You do not understand -anything, poor Aisha! To love without peril is beautiful--it is the -common kind of love. But the kind that is outlawed, accursed and -condemned at its beginning--the love that braves all perils, that -defies death, that brings the bitter-sweet of forbidden kisses and -maddening embraces during which it is said, "This may be the -last!"--that is love!--that is love! - -AISHA. (Groaning) Ah! - -ZORAYA. Be silent! This time it is his step. (She runs to the door -at the left and opens it) It is he!--Ah! it is he!--It is he! - -[Enrique appears on the threshold of the little door.] - -ZORAYA. Finally--Ah! God!--At last! at last! (To Aisha as she passes -Enrique to fasten the little door) Watch carefully. (After fastening -the draperies, Aisha goes into the garden.) - - -Scene Four - -[Zoraya, Enrique] - -ZORAYA. (To Enrique) Your heart beats!--You have been running? - -ENRIQUE. Yes! - -ZORAYA. They have pursued you? - -ENRIQUE. (Removing his mantle) No! - -ZORAYA. And on the road, did you see no one? - -ENRIQUE. Not one person! (He places on the stool his mantle, his hat -and his sword.) I did not come by way of the bridge, but by the path -up the hillside after crossing the river in a boat. - -ZORAYA. (Seated on the cushions) In daylight! What imprudence! And -instead of coming last night when I waited so anxiously for you! - -ENRIQUE. I, too, have had occasion to think of that!--When I left you -at dawn the day before yesterday I saw standing at the end of the -bridge a man whom I knew had no ordinary reason for being there at -that hour. I passed him quickly, covering myself closely with my -cloak. He followed me, but I reached my residence after throwing him -off my trail in an alley. - -ZORAYA. He followed you?--You are certain? - -ENRIQUE. Absolutely certain. It was to baffle him that I forced myself -to remain away from you last night and the night before and that I -crossed the river in a boat, below the Mirador. - -ZORAYA. Yes! (Rising) Oh! it is clear now! It is well for you that -they watched only at night. - -ENRIQUE. And why? - -ZORAYA. The men watched there behind those fig trees. (He goes toward -the terrace.) No!--they have gone away, thinking it useless to watch -for you in the daytime. - -ENRIQUE. How many? - -ZORAYA. Three. One of them seemed to be the chief. - -ENRIQUE. Did he have a small, grizzly beard? - -ZORAYA. Yes. - -ENRIQUE. (Eagerly) It was he who spied upon me. I believe I recognize -him! (Seats himself at right on the fountain basin.) It is Cardenos, -one of my father's old soldiers, but now an agent of the Holy Office -and a religious bigot! - -ZORAYA. (At his right, standing) Then! he has recognized you! - -ENRIQUE. I doubt it. He would hardly wait one day. He knows only that -you are receiving some unknown person in the night. If I were -suspected they would prowl round my house and I have seen nothing of -them--At least, whatever there is in this, we must be on guard. - -ZORAYA. Oh, yes! - -ENRIQUE. And for the sake of prudence give up seeing each other. - -ZORAYA. For several days--surely. - -ENRIQUE. Say--some weeks. - -ZORAYA. (Protesting) Several weeks? - -ENRIQUE. It is the only way to stop them from spying upon us. - -ZORAYA. Several weeks!--without seeing each other? - -ENRIQUE. My Zoraya, you must resign yourself to it. - -ZORAYA. Resign myself!--Oh, resignation is easy for you! Our love is -not the only affair of your life!--But I!--I cannot conquer my -loneliness after you depart with the thought that you will return -when the first star flowers in the heavens. I shall no more, during -the great heat of the day, dream of the night's divine joys, which -live again in thoughts of you. I shall feel lonely enough in this -house during the coolness of evening when alone I shall hear the soft -wind in the branches, the songs of my birds, the purling of my -streams--then all that charms me at other times will bring in your -absence only sorrow and tears!--Those two nights without you, how -long they seemed!--and you speak of weeks!--several weeks, you say. -"Where is he? What is he doing? Does he think of me? If he should -never return!" (Enrique makes a quick movement.) Ah! perhaps that is -what you wish to say and dare not tell me! - -ENRIQUE. I! - -ZORAYA. If you fear those men?--If you wish to see me no more? - -ENRIQUE. (Protesting) You believe me cowardly!--When I have risked -myself in plain day to see you for an instant! - -ZORAYA. That is true!--But you seem so preoccupied, so troubled-- - -ENRIQUE. Like yourself--by this danger. - -ZORAYA. Yes, but I am more tender than you--While you--they say that -your heart is always far away--far away from me!--Look at me!--I want -you to look at me!--Quickly!--without taking time to invent a lie! -(She turns Enrique's face toward her.) Your gaze seems to tell me -that your love has been stolen from me! - -ENRIQUE. Ah! My charmer! What a long time until then!--Since the hour -when we first met, they have followed me everywhere, those eyes, -there--they call to me day and night!--Ramiro had said to me, "Take -care, my lord, that the magician does not throw over you some kind of -a love charm!" - -ZORAYA. Ramiro is a silly fellow. There has been neither a magician -nor magic. "Life," said my father, "is a combat, where, like flights -of arrows, contrary minds strive among themselves for a victory, -which finally rests with the fallen." I desired ardently to be loved -by you. You did not know how to defend yourself. I have shot my arrow -into your heart--in that lies all of my sorcery. - -ENRIQUE. And why did you so fervently desire me to love you? - -ZORAYA. (Passing Enrique, to the left) First, because of cowardice, -my dear lord!--to extort from you my pardon--and later on, if I -conquered you, to flee from Toledo! - -ENRIQUE. Ingrate! - -ZORAYA. (Sitting) It is bold of me to tell you now--and next--for -bravado, malice and revenge! - -ENRIQUE. Revenge? - -ZORAYA. Yes, yes, revenge! I wanted to have the pleasure of -humiliating in you the Spaniard, the Christian, the conqueror of my -people, the enemy of my race, which you declare impure! I wanted to -make you renounce your faith like the heroes of that book of love -(she points to the book on the table), "Celastine," which you have -given me to read--like Calixte, who said to his dear Melibee: "I am -no more Christian or pagan. I am Melibee! I believe in no one but -Melibee, I adore no one but Melibee!" And, after all!--after all!--I -wanted to be loved--for the sake of love! Leaning against you, nearly -in your arms, as I am now, with your cheek brushing my cheek--I felt -little by little the chaste coldness of my widowhood, which Aisha -always glorified, melting like snow in the glowing warmth of our -clasped hands, in the burning breath from our hot lips--This fever of -love which I believe will never be cured has crept stealthily into my -blood. I am like one intoxicated. And when you say to me: "Go away, -you are free!" I shall take with me in leaving the hope, the dear -hope, that you will come to me very soon on some dark night and -demand a ransom for my freedom. Ah! my adored conqueror, you are well -avenged! She who would rule is no more than an humble slave at your -feet, subdued and tender as a tamed gazelle! (Sounds of the distant -bells. Enrique starts. Zoraya does not move.) What disturbs you? - -ENRIQUE. Those bells! - -ZORAYA. Well, they are ringing. What is that to us? - -ENRIQUE. It means that they are calling me and that it is time for us -to part. - -ZORAYA. (Rising) So soon? What for? You may remain here until the -hour of the siesta when the streets are deserted. - -ENRIQUE. Oh, no! That is impossible! (He rises.) - -ZORAYA. Impossible! - -ENRIQUE. There is to be a great feast in the palace and a great -ceremony in the cathedral. All of my men are under arms and I must -be at their head. I have scarcely time to return to the city in the -same way that I came. - -ZORAYA. By boat? - -ENRIQUE. Yes. (He takes up his hat, mantle and sword.) - -ZORAYA. And if they should watch for you on the other side of the -river? - -ENRIQUE. Do not dream of that!--Fear nothing! - -ZORAYA. Oh! I fear everything just now, those men--and for you! - -ENRIQUE. For me? - -ZORAYA. Yes! Yes! For either of us, who knows? Last night I had a -menacing dream! You entered by that door! I ran to you! You were -nothing but a shadow, a vapor which dissolved in my arms! - -ENRIQUE. What folly!--A dream! - -ZORAYA. All dreams are not lies! If this one should be true, what -then?--Do assure me that you are not going away to forsake me! - -ENRIQUE. Oh! - -ZORAYA. For another! - -ENRIQUE. Hush! Hush! - -ZORAYA. I would kill you first!--No, no! Do not believe that! Pardon -me for saying that--I have suffered so much during these last two -days. And such bad omens! When do we meet again? - -ENRIQUE. God knows when! So soon as we can without danger. - -ZORAYA. Here? - -ENRIQUE. Oh, no! - -ZORAYA. Where then? - -ENRIQUE. I shall advise you. - -ZORAYA. (In his arms) And how shall I know? - -ENRIQUE. That will be arranged!--And, until I come, my dear love, -believe nothing, do you hear!--nothing, only in my love for you! (The -bells begin to ring again.) - -ZORAYA. Ah! those bells which always take you from my arms! - -ENRIQUE. I hope to see you soon! - -ZORAYA. Watch carefully during your return to the city. - -ENRIQUE. Yes, yes! - -[She gazes at him until he disappears through the doorway.] - - -Scene Five - -[Aisha opens the curtains in the left arch. Seeing that Zoraya is -alone, she descends into the scene.] - -AISHA. He is gone? - -ZORAYA. (Going back to the right) Yes, and let us hope safely. He -will not return until many days have passed. - -AISHA. I have turned away the poor men who came at their usual hour -seeking aid from you. - -ZORAYA. Ah! I am in a fine state of mind to console others! - -AISHA. I have again given Al Mansour's wife that black liquor which -lessens her husband's sufferings. I also gave a purse of gold to -Farizade. Poor Saada is here again. She is discouraged. Her sister -suffers more than ever from that malady. - -ZORAYA. Alas! And there is no remedy! - -AISHA. She begs you to have pity on this unfortunate woman, who asks -that death relieve her and who implores you to send her a beverage -which will put her into a sweet and everlasting sleep. (The bells -stop ringing.) - -ZORAYA. Ah! that is the right kind of charity. They give that to a -diseased dog, but they condemn human beings whom they love to suffer -useless tortures--it is barbarous and stupid! - -AISHA. Saada will return tomorrow. - -ZORAYA. Prepare for her bitter almond essence in a covering of pure -wax the size of a muscat grain. That will take away the poor girl in -less time than one can say: "There is no other God but Allah!" If it -is a crime to do this, I am ready to face the charge. Is that all? - -AISHA. (With hesitation) No!--there is another whom I did not want to -send away. It is an urgent case, she said. She is anxiously waiting -out there. - -ZORAYA. Do I know her? - -AISHA. (The same) She is an old friend of your mother's--Fatoum. - -ZORAYA. (Quickly) That wretched woman who was converted! I will not -see her! - -AISHA. She assures me she has been faithful to the Prophet's law. - -ZORAYA. Well, what does she want? - -AISHA. She is accompanied by a young girl in a litter. - -ZORAYA. Ill? - -AISHA. Probably. - -ZORAYA. Let Fatoum alone enter. - - -Scene Six - -[Zoraya, Aisha, Fatoum] - -[Aisha raises the portière at the left to admit Fatoum, an old -Moorish woman, who has been converted.] - -ZORAYA. Come forward! - -FATOUM. (She goes to Zoraya, who is seated, kneels and kisses the hem -of her skirt) May Allah be merciful to you and rain his gifts upon -you! - -ZORAYA. (Severely) Dare you pronounce His sacred name, you who have -renounced the God of your fathers! Take care that He does not hear -you! - -FATOUM. He reads my heart and sees that I am converted only because I -do not want to be separated from the child, whom I have brought here. - -ZORAYA. Your daughter? - -FATOUM. By birth, no, Zoraya; by affection, ah! certainly, yes! She -was ten years old when her mother died, and I have reared her. - -ZORAYA. A Spaniard? - -FATOUM. Yes! You alone can heal her. - -ZORAYA. That is a case for the Christian physicians. - -FATOUM. They know little or nothing. I have come to you because your -father--on him rested Allah's benediction--was their master in -everything and taught you the secrets of his art. - -ZORAYA. Well, who is she? - -FATOUM. She consented to come only when I promised not to reveal her -name. - -ZORAYA. Then she may go! - -FATOUM. Zoraya, have pity! This child's father is a hardened -Catholic!--If he knew that I had taken his daughter to a Moor's home, -I would be cruelly punished! Out of fondness for me, she keeps it a -secret! - -ZORAYA. She need not know that you have betrayed it. - -FATOUM. If you promise me---- - -ZORAYA. Yes, I promise!--Who is she? - -FATOUM. Doña Joana, daughter of the Governor of Toledo! - -ZORAYA. (Quickly rising) That madman who is hunting our refugees in -the Sierra and killing them without pity! - -FATOUM. Allah, the Most High, rewards the faithful for their -sufferings! This child is innocent of her father's cruelties. She is -charitable and good, the same as we ourselves. Moreover, she is very -pious. She has been out of the convent only four days and will be -married today. - -ZORAYA. Ah! those bells! - -FATOUM. Her marriage! In order to have her visit you we have taken -advantage of a journey to the convent of Mercy on this beautiful -morning to ask the benediction of the abbess. - -ZORAYA. The convent of Mercy!--In it is confined the poor creature -who loved Kalem, whom they stoned to death. - -FATOUM. I do not know. - -ZORAYA. I, myself, know it--and I shall tell Joana my price for -healing her--Let her enter! - -[Aisha and Fatoum go out and return, bringing in Joana.] - - -Scene Seven - -[The same persons and Doña Joana] - -[Joana enters, timid, frightened and supported in Fatoum's arms.] - -ZORAYA. (Kindly) Do you not fear, señorita, to come into a pagan's -home? - -JOANA. Fatoum has told me that you are charitable. That is the law of -the Gospel! - -ZORAYA. And also that of the Koran--In that our religions are the -same!--Seat yourself, my daughter (she sits upon the cushions at her -side)--and tell me your trouble. - -JOANA. (Timidly) Permit Fatoum to tell it instead of me. - -FATOUM. (Seated on a stool which Aisha has placed in the left of the -scene) It is very strange--She rises in her sleep at night. Without -seeing any one, she goes, comes, attends to her ordinary duties and -returns to her bed--and during all that time she is in a dream. - -ZORAYA. (Taking Joana's hand, which relaxes) And she remembers -nothing of it? - -JOANA. Oh, nothing! - -FATOUM. This also happened in the convent. - -ZORAYA. No, no! I prefer to have her tell me about it, herself. - -JOANA. While in the convent I was frequently seized at night by a -desire which led me to walk barefoot through the corridors to the -chapel where I lighted the altar candles, prayed and sang a -canticle!--and the next day the candles were still burning and I -would not believe that I had lighted them. I prayed in vain to God -to deliver me from this infirmity. I decided to come to you this -morning with Fatoum, who says you are so wise!--For I am to be -married today. If my husband sees me get up in the night and -promenade like a phantom, he will believe it is a punishment from -Heaven!--He will abhor me and I will die of shame! - -ZORAYA. (Leaning towards her) And during the day when you pray you -fall into a dream of ecstasy, do you not--and you make believe that -you are no more on this earth? - -JOANA. (Feeling gradually the suggestions to sleep) Oh, yes--yes!--It -is so beautiful! Ah, it is delicious! I see Heaven!--blue--all blue, -encircled with a golden light!--I hear the songs of seraphim and -archangels!---- - -ZORAYA. And is all beautiful in this delicious slumber into which you -are falling? - -JOANA. (Sleepily) Yes!--Yes, beautiful! - -ZORAYA. As this? (She closes Joana's eyes.) - -JOANA. Yes!--I see--I--I---- - -ZORAYA. Sleep! I want you to! - -[Joana falls asleep with her head resting on Zoraya's shoulder.] - -FATOUM. (In a low voice) Is she asleep? - -ZORAYA. It is a sleep like that in which she walks at night. - -FATOUM. Joana!--Señorita!--My child! - -[Joana does not move.] - -ZORAYA. She does not hear your voice!--Does she also speak of taking -the veil? - -FATOUM. Ah, God!--It is her only dream. But she is her father's only -child. He will not consent to it and is obliging her to marry, which -makes her disconsolate. - -ZORAYA. Does she object to the marriage, or to the man who is to be -her husband? (Calling) Joana! (Joana moves. Zoraya continues.) -Answer!--Do you feel tenderly for him whom you are to marry? - -JOANA. (Feebly) I do not love him. - -ZORAYA. Then, it is a feeling of aversion? - -JOANA. No! (Sadly) I do not want to marry!--I want to be a nun. - -FATOUM. Do you hear that!--To me, to her father, to the abbess and to -the sisters at Mercy--she has nothing to say but: "I want to be a -nun." Do you think that they have encouraged her with that idea in -the convent and pictured marriage as something frightful? She is -afraid that she will fall into one of those sleep-walking dreams -tonight, which would cause a scandal! - -ZORAYA. Perhaps marriage would cure this malady. - -FATOUM. Oh! I implore you, Zoraya, to heal her yourself, at once---- - -ZORAYA. In a day, it is impossible!--Can you not come later? I shall -surely succeed in curing her by frequently placing her in the present -state in which she thinks of nothing, feels nothing and moves only at -my command. - -FATOUM. Is it possible?--It is magic! - -ZORAYA. No!--It is one of the mysterious laws of Nature that one will -can fasten upon another, as mine has upon this child's, and cause it -to submit. It is so, Fatoum, for good or bad. If my power over this -weaker creature were better established, and not so recent, I could -say to her at this moment: "On such a day, at such an hour, you shall -sleep this same sleep." And unless she guarded herself while asleep, -the least remembrance of that order on the stated day and hour would -cause her to sleep unexpectedly in spite of her will, completely -enslaved by mine. It is time to awaken her. - -FATOUM. Not yet, I pray you!--Your will is so powerful. Can you not -give her some protection against this disease tonight? - -ZORAYA. I can attempt it with great hope of success. - -FATOUM. Oh! do it, Zoraya!--Do it! I shall forever bless you! - -ZORAYA. Joana! I tell you not to have the least fear that your trouble -will return tonight. I have protected you. Do you understand? - -JOANA. (Feebly) Yes!--Yes! - -FATOUM. May Allah reward you! - -ZORAYA. I tell you to awaken. - -[She draws Joana to her, leans over her shoulder, places her hand on -the top of her head, breathes on her eyes and opens her eyelids. -Joana sighs, rouses herself, awakens and looks astonished.] - -JOANA. (Sadly) Ah! you see!--I have slept again. - -ZORAYA. No, señorita, no!--It is I who made you sleep. - -JOANA. You can do that! - -ZORAYA. And can also cure you. - -JOANA. (Quickly) God has guided you! - -ZORAYA. Be assured, your malady will not trouble you tonight. (Signs -of joy from Joana. Zoraya continues.) All service, of course, is -worthy of reward. Therefore, I put a price on your healing. - -JOANA. Ah! I promise to pay in advance. - -ZORAYA. You are going to the convent of Mercy? - -JOANA. Yes, to ask for the blessing of the Holy Abbess. - -ZORAYA. There is in that convent a Christian maid, who, for having -loved Kalem, is confined in a dungeon where she never sees daylight, -where she awaits death to deliver her, if she has not yet answered -its call. - -JOANA. Yes, poor girl, I know--but her crime---- - -ZORAYA. You should quickly judge her as being the least -guilty.--Implore for that unfortunate girl the mercy of the abbess, -who will refuse you nothing on this, your nuptial day--Ask that this -miserable creature be brought out of her living tomb, that she be -given a cell where she may see a ray of sunlight, and that she be fed -with other nourishment than bread and water, which increase the -sufferings to which she is condemned. As for this today--Too late, we -fear. - -JOANA. I shall request this as a favor. - -ZORAYA. You swear that you will? - -JOANA. Before God! - -[The distant bells again ring.] - -ZORAYA. (Without rising) Those are your marriage bells, dear child. -(Aisha assists Joana to rise) I hope that you will have good health, -a happy and contented love and that your youth will be decked with -flowers. - -[Joana leaves with Aisha, while Fatoum stops to kiss Zoraya's hand.] - -FATOUM. Allah's benediction upon you! - -[Fatoum goes out with Joana.] - - -Scene Eight - -[Zoraya, Aisha, Zaguir] - -[At the instant that Fatoum and Joana disappear in the garden, Zaguir -appears on the threshold of the little door.] - -ZORAYA. You followed those men? - -ZAGUIR. Yes, mistress!--Far into the city, but I lost them in the -crowd. All of the world seems to be in the streets, for there is a -great fête. - -ZORAYA. Yes, I know--the marriage. - -ZAGUIR. Of the Governor's daughter and Don Enrique Palacios! - -[Zoraya stifles a heartrending cry.] - -AISHA. (Running to Zoraya) Ah! unhappy child! (Zoraya clings fast to -her, bewildered, swaying, choking. She finally falls on the cushions -between Aisha and Zaguir, who rush to aid her.) My Zoraya!--My poor -Zoraya! - -(Curtain) - - -ACT THREE - -Scene--Evening in a Spanish patio in the governor's palace. It is -seen obliquely. In the foreground and on the three other sides a -portico of columns surrounds the central space which is open to the -sky. The court is ornamented with flowers and shrubs and pomegranate, -orange, myrtle and laurel trees in red earthen pots. Seats of all -kinds are scattered about. At the foot, on the ground floor, is a -large chamber with a door in the middle and windows on the sides. At -the right, in the foreground, under the portico, a small stairway of -five carpeted steps faces the audience and ends on a landing which -gives access to a vestibule and the bridal chamber, where the -outlines of dimly-lighted windows are seen. The columns of the -portico are decorated with palms, foliage and flowers fastened with -silk ribbons. Roses and jasmines climb on the walls. At the left, -clearly in view, is a door opening on the street, which is brightly -lighted by the moon when the door is open. The moon also shines -intensely bright on the front and right side of the house. The rooms -on the first floor have lighted windows. Lanterns hang from the -pillars of the portico. Hung from a pillar at the left, a Madonna -lamp lights the front of the scene. There are doors at the right, the -left, the foot and at the extremities of the portico. - -Through the door and windows of the first floor is seen the great -dining chamber containing a table. In the scene, cavaliers, women, -bourgeoise and invited guests of all kinds are seated everywhere; -valets are hurrying about passing basins of silver with fruits, cake, -etc. The señoras, seated, fan themselves, chatter and gossip. There -is a loud noise of talk and laughter. Music is heard in the banquet -hall, interrupted with lively bursts of applause and exclamations of -joy. Little Spanish airs are played sweetly on instruments like -flutes, violins and hautebois. - - -Scene One - -[Cardenos, Ramiro, Doña Rufina, Doña Serafina, Doña Syrena, Doña -Fabia, Velasco, Don Ambrosio, Rioubos, Cristobol, Cavaliers, Women, -etc.] - -[Ambrosio, Syrena, Serafina, Fabia, are seated in the foreground. -Cristobol and Rioubos are outside.] - -DOÑA FABIA. Ah! here is Doña Rufina. - -[Doña Rufina enters with Ramiro into the foreground. Salutations.] - -RAMIRO. (To Doña Rufina) Then, Señora, you were not at the cathedral? - -DOÑA RUFINA. (Seating herself in a chair which Ramiro places at the -left) No!--I have just arrived from Aranjuez, bringing the Queen's -gift to the bride--a very costly girdle-buckle. - -CRISTOBOL. It was a beautiful ceremony, Señora. - -RIOUBOS. His Eminence Cardinal Ximénès himself pronounced the nuptial -blessing. - -DOÑA SYRENA. Naturally! Doña Joana is his god-daughter. - -DOÑA RUFINA. The city seems to me very gay. - -DOÑA FABIA. Compared with it ordinarily. - -RAMIRO. Yes, all day they have had on the Plaza del Zocodover -entertainments by jugglers, buffoons, dancers and monstrous African -monkeys! - -DON AMBROSIO. (An old cavalier sitting in an arm-chair) Yes, at this -moment there is singing and dancing in all the public places. - -DOÑA SYRENA. Among us, this marriage was a long time postponed. - -DOÑA FABIA. Yes--they were betrothed five years. - -RAMIRO. Pardon me, Señoras. When Don Enrique's father--the Lord -Palacios--felt that he could not live much longer he decided to -select a wife for his son's future marriage. He and the Governor -made an arrangement whereby Don Enrique and Doña Joana were -affianced. As Doña Joana was then only ten years old, her father made -her go to the convent to grow up! - -DOÑA RUFINA. They say she became so devout they believed she would -never come out. - -DOÑA SYRENA. She did not have a radiant air in the church--the bride! - -RIOUBOS. No more than did Enrique. - -CRISTOBOL. There was one radiant person--the Governor! - -VELASCO. (Unexpectedly) Undoubtedly because his daughter did not take -the veil! - -RAMIRO. (To Velasco) What! are you here, Velasco?--I believed you -were in Alpujarras, chasing the Moors. - -VELASCO. (Bowing to the women) I was, in a way; but I have returned -for this fête. - -DON AMBROSIO. Have they not yet taught these rebels to be reasonable? - -VELASCO. They have retreated into inaccessible places where it is -impossible to follow them. - -DON AMBROSIO. They are chasing these pagans too long. - -RAMIRO. Not now, Don Ambrosio. His Eminence and the Governor are -after them with the hand of death. - -DON AMBROSIO. Then, Ramiro, you will see the advantages of severe -treatment. Within six months thousands of Moors will be converted. - -[Murmurs of satisfaction. The music ceases.] - -CARDENOS. That is a mere farce, my Lord Ambrosio! (Gravely) These new -Christians are liars--they go to mass, only to laugh when they come -away. They themselves confess of avowing only to silly things. When -their children are baptized, they wash them quickly to cleanse them -of what they call the pollution of the blessed holy oil. (Murmurs of -indignation) Their daughters are married at our altars, dressed as -Christians, but when they reënter their homes they dress themselves -as Moors--and celebrate their nuptials with dances and forbidden -Arabian songs, such as the zambra, to the music of tambourines, -trumpet-shells, cymbals and other instruments also forbidden! - -DOÑA RUFINA. For my part, I can overlook the zambra and the -tambourine, but I strongly approve prohibiting Moorish women from -dyeing their eyebrows and eyelashes. They are bold enough looking -without that. - -DOÑA SYRENA. Oh, my! I think the most admirable royal edict is the -one which provides the penalty of execution for any intimacy between -a Spaniard and a Mooress--for there are truly beautiful girls in the -homes of these Africans, and you are not too little inclined, my -lords, to perceive them. - -RIOUBOS. And for my part, Señora, I strongly approve of the edict -which punishes with solitary confinement in a dungeon any Spanish -woman who loves one of these blacks to whose beauty you are not -always indifferent. - -DOÑA SYRENA. (Quickly) Oh! but that is all the more excusable. - -[Laughter and exclamations.] - -DOÑA RUFINA. (Quickly) Ah, my dear, what did you say then? - -DOÑA SYRENA. (A little confused by her blunder) You see!--Yes!--The -circumstances are very different. - -[The same sounds of laughter.] - -RAMIRO. Ah! see, I beg of you, Señora--see the difference! - -DOÑA SYRENA. What!--If the intrigue has results, is it not so? - -ALL. Yes! - -RAMIRO. A child! - -DOÑA SYRENA. In the first case, the mother being Moorish the child is -a little Mussulman--in the second case, where the mother is Spanish, -it is a little Christian!--Dear angel!--And there are never too many -of those! - -ALL. (Laughing in approval) Oh! very good! Very ingenious! Charming! - -[Three trumpet calls are sounded in the banquet room.] - -DOÑA RUFINA. The banquet is ended. (She rises.) - -DOÑA SYRENA. They are going to drink to the healths of the newly -married ones! - -[All rise. Shouts and acclamations in the hall, followed by very sweet -music. All the guests come out, those in front turning to look into -the banquet hall. Fatoum appears on the pavement, while valets -distribute flowers among the assistants.] - - -Scene Two - -[The same, Fatoum and Zoraya] - -[Zoraya, veiled, cautiously enters unnoticed from the street and goes -to the middle of the foreground. While getting her bearings, she sees -Fatoum on the landing-place and goes toward her, raising her veil.] - -ZORAYA. Fatoum! - -FATOUM. Ah! Zoraya! - -ZORAYA. (Imposing silence with a gesture) Yes!--I concluded that -results would be surer if I repeated the mesmeric treatment which I -gave Joana this morning. - -FATOUM. Oh! I am grateful to you! You have arrived at an opportune -time! It is the end of the banquet. They are now offering -congratulations. Joana is about to enter her apartment. You will pass -for one of the new servant women whom I have chosen! - -[She points to the landing-place of the right stairway and leads her -to it.] - -ZORAYA. Ah! it is there? - -FATOUM. Yes, where the windows are lighted. - -ZORAYA. (Looking about) And he!--Where is he? - -FATOUM. He? - -ZORAYA. The husband! - -FATOUM. In the large chamber waiting for the poor child to be put to -bed. - -[Zoraya stops on the stairway an instant to turn towards the banquet -hall, then follows Fatoum.] - - -Scene Three - -[The same without Zoraya and Fatoum. Afterward Doña Joana and her -women, Cleofas] - -[While dance music is being played, the great double door of the -chamber is thrown open--the guests crowd to the windows. The women -arrange themselves at the left of the patio, the men at the right. -Doña Joana comes out of the chamber, followed by her female -attendants. As she descends, she is saluted by the women, who make -courtesies before her, and by the cavaliers, who bow. Each, at the -moment she passes, throws a flower at her feet and murmurs a wish for -happiness.] - -DOÑA SYRENA. Joy and health, Señora! - -DOÑA RUFINA. Be happy, Doña Joana! - -DOÑA SERAFINA. Everlasting happiness, Señora! - -THE CAVALIERS. Our best wishes, Señora! - -[Doña Joana thanks them as she descends into the foreground and goes -up the steps leading to her apartment. The women watch her and bow -reverently as she stops on the threshold to look at them before -entering the room. Fatoum is waiting for her. The music stops when -they enter.] - -DOÑA FABIA. (At the left with Doña Rufina and Doña Syrena, after -Joana disappears) She is pale, the dear! - -DOÑA RUFINA. (Giggling) With emotion! - -DOÑA SYRENA. They create such false ideas about a moment like that! - -DOÑA RUFINA. And exaggerate them so! - -[They group themselves, seated, near the right column. After the -procession has passed, Cleofas descends at the right, talking with -Ramiro and Cristobol. The guests disperse in the patio, sitting or -standing. There is a murmur of confused voices.] - -CLEOFAS. Whew!--it is warm in that chamber! - -DOÑA SYRENA. (To Doña Fabia in a low voice) Especially after they -have emptied all the flagons! - -DOÑA RUFINA. (To Cleofas) Cleofas would have done well had he given -the bride some comforting elixir. - -CLEOFAS. (Gaily) Oh, yes! Those nuns have pictured marriage to her as -something horrible! - -DOÑA RUFINA. The poor little child has had no one to give her a -mother's care. - -RAMIRO. Oh, yes!--there is Fatoum, the convert, who has brought her -up. - -DON AMBROSIO. And, speaking of converts, Master Cleofas, the Very -Holy Inquisition, of which you are the physician, seems to me to be -enjoying a very long moment of leisure. - -CLEOFAS. (With satisfaction) Oh, oh! the Tribunal is not out of work. -And, after a short time, I believe that I may promise these ladies a -very jolly bonfire. - -[Murmurs of satisfaction.] - -DOÑA SYRENA. Of heretics? - -CLEOFAS. Of heretics. Moors, Jews, renegades and backsliders--a sample -of each. - -DOÑA RUFINA. And of sorcerers? - -CLEOFAS. Of sorcerers and sorceresses, also--but fewer in number than -is desirable. - -CARDENOS. (To Cleofas in a low voice) Master Cleofas, I should like to -say two words to you in that regard. - -CLEOFAS. At Your Grace's disposition! - -[He goes to the left of the scene, followed by Cristobol, Rioubos and -Ramiro, who surround him.] - -CARDENOS. You have not forgotten an Arabian physician named -Abou-Abassa? - -CLEOFAS. A physician!--said to be a charlatan, who resided on the -left bank of the river in a house on the hillside, where his daughter -now lives. - -CARDENOS. Zoraya! - -CLEOFAS. Oh, yes! I knew him!--I was enraged to see Bishop Talavera -honor and protect a Moor, who had, they say, healed a sprain with -friction--in reality, Cardenos, by means of mystic signs and magic -incantations. - -CARDENOS. Then you are sure that man was---- - -CLEOFAS. A necromancer! And worse than that! Listen and judge, friend -Cardenos! (He seats himself) One day I was riding my mule on the road -leading to the bridge of San Martino. They called to me to examine a -child which had been taken from the river apparently dead. "Have -you," I asked, dismounting, "suspended it by the feet in order to -expel the water from the body? 'Yes, lord'--And that has not resulted -in resuscitation?--'No, lord'--Then, there is nothing more to do. -Good evening!"--And I passed on--The child was dead, was it not? - -CARDENOS AND THE YOUNG MEN. Yes! - -CLEOFAS. Eight days later I re-passed the same place and whom do you -think I saw playing on the rocks with a gang of ragamuffins?--Who?--My -drowned child! - -ALL. Oh! - -CLEOFAS. Astounded, I questioned the child and found that after I -left they had recourse to that quack, Abou-Abassa, who had breathed -in the child's mouth, made strange motions with its arms and -succeeded in reanimating him after an hour and one half!--The magic -was shown in the breathing and gestures and in this diabolical -resurrection, which was an ignoble parody on the miracles in the -Scriptures! - -CARDENOS. It is the same evidence. - -CLEOFAS. The wretch is dead!--But, his daughter, who has been devoted -to the works of the devil since her birth, interferes just as he did -with the treatment of my patients: even with my own governor, -Pétronille, whom I attended after fainting spells. I gave him -hartshorn, which, you know, is the best cure for such illnesses, as -is also the oil of ants and the salt of wood-lice--what is it they -call this Olivera--whom they have given me for a colleague in the -Tribunal? - -CARDENOS. The surgeon? - -CLEOFAS. Yes, this ignoramus goes so far as to make sport of the -inclusion of pearls and precious stones in our remedies; as if it -were not proved every day that sapphires are the principal cures for -ulcers, and emeralds infallible preventatives of pests! - -[He rises.] - -CARDENOS. Assuredly! - -CLEOFAS. Between us, this Olivera is to be watched, Cardenos--I am -sure he believes more in the devil and witches than he does in -medicine. - -CARDENOS. What is your reason? - -CLEOFAS. Oh! nothing--He smells of it and I advise you to watch -him--I said then--where was I? - -CARDENOS. You spoke of Pétronille. - -CLEOFAS. Ah! yes, my governor! Do you believe that this wretch would, -without consulting me, let himself be conducted to Zoraya's home? -Seeing him lively and apparently cured, I said: "Ha, my hartshorn -powders?"--"No such thing!" he replied. "It was not your powders--it -was a remedy which the Moorish woman gave me!--Swindler! pick up your -packets and leave at once."--It is better for me to work myself to -death giving my own remedies than to deceive patients with the kinds -which she uses! - -CARDENOS. Certainly!--if it is magic---- - -CLEOFAS. It is magic, Cardenos, do not doubt it. This sorceress is -competing with me dishonestly. This is not all--she takes no pay from -the poor for her attention or her medicines. And will you believe me -when I tell you that she sends them away with their hands full of -gold?--We shall have to struggle now!--Our practise is being ruined. - -CARDENOS. Your Honor may be reassured--they have an eye on her. - -[An agent of the Inquisition, dressed in black, enters from the -street.] - -THE AGENT. (Going to them) Lord Cardenos, His Eminence prays you to -come without delay, for urgent business. - -CARDENOS. I shall come at once!--This, Master Cleofas, may have -something to do with your Mooress. - -CLEOFAS. Good! Good! - -[Cardenos and the man go into the street. They play a saraband in -the banquet hall.] - - -Scene Four - -[The same, Don Enrique, Lopez de Padilla, guests, men and women, -etc.] - -[Don Enrique, accompanied by Lopez de Padilla and other cavaliers -and gentlemen, descends from the banquet chamber in the midst of an -uproar of congratulations and salutations, the cavaliers kissing the -hands of the women. The guests begin to disperse. Most of them go out -of the door into the street; others go out at the left. There is -laughter as they go away.] - -DOÑA RUFINA, DOÑA FABIA AND DOÑA SYRENA. (To Enrique, laughing and -making courtesies) Good night, my lord. - -[He conducts them to the door opening on the street. Returning, he -finds Padilla and some friends. Meanwhile the servants put out the -lanterns and the patio is lighted only by the moon.] - -PADILLA. (Surrounded by the men, to Enrique) The only thing which -marred this feast, Don Enrique, was the absence of your father, whom -we needed. - -ENRIQUE. It was the fulfillment of his dearest wish and I thank Your -Excellency. - -PADILLA. I have bestowed upon you, my child, all of the esteem and -affection which I had for the dear companion-in-arms of my youth. I -have placed in your care what is dearest to me in this world with the -assurance that you will be a tender husband to my adored daughter. - -ENRIQUE. And to you, my lord (he kisses his hand) a most respectful -son. - -PADILLA. (To the others) Then, gentlemen, it is time for such -graybeards as we to leave this impatient youth.--Until tomorrow, my -child! - -ENRIQUE. Until tomorrow, my father! - -[While the valets are closing the street door on the last departing -guests, Padilla and the other gentlemen go towards the left door, -accompanied to the threshold by Enrique. Joana's women attendants -descend the stairway, cross the patio and leave by the door at -the right. They meet Enrique coming up. He descends and receives -their salutes as they pass, turning toward the stairway to re-ascend -after they have disappeared. At that moment all is dark, except the -vestibule, the landing-place and the right window. While the women -are going out, Zoraya comes out of the vestibule, stops on the -landing-place to assure herself that the patio is vacant and -motionless awaits Enrique.] - - -Scene Five - -[Zoraya, Enrique] - -[This scene follows the last sounds of laughter, conversation and -music.] - -ENRIQUE. (Stopping at the foot of the stairway on seeing Zoraya -veiled) Who are you, woman, and why do you not leave with the others? -(Zoraya is silent.) Do you not hear me?--Who are you? - -ZORAYA. (Raising her veil) I am the sorrow and you are the traitor! - -ENRIQUE. (Recoiling) Zoraya! - -ZORAYA. You have forgotten, have you not, to invite me to this feast? - -ENRIQUE. (Looking about uneasily) You! here--in this house! - -ZORAYA. In your wife's home, yes. - -ENRIQUE. To tell her---- - -ZORAYA. (Sorrowfully) Ah! you wretch! Your only thought is for her. -My despair does not move you so much as the fear that she will not -accept the lover of a Saracen! - -ENRIQUE. (Uneasily) Lower! Speak lower! I beg of you! - -ZORAYA. (Without listening) You are not so innocent as you were on -the steps of the church---- - -ENRIQUE. You were there! - -ZORAYA. It was to the entire city that I failed to cry: "That -Christian is my lover!" But that cry would have sent you to the -King's galleys. My heart failed me and coward that I am, I was ready -to flee, weeping. - -ENRIQUE. Do not condemn me without hearing me! - -ZORAYA. Oh, God!--you, you, who this morning--Oh, God! God! Is it -possible? - -[She falls seated at the foot of the column.] - -ENRIQUE. My Zoraya, my mistake, mine alone for not telling you the -first day---- - -ZORAYA. Do you love this girl? - -ENRIQUE. Ah! certainly, no!--I was forced---- - -ZORAYA. You betrayed me for her? - -ENRIQUE. It is she whom I have betrayed for you!--I have known you -only three months. She and I were betrothed years ago!--But I was so -sure she would take the veil and remain in the convent. After this -marriage was arranged contrary to her wish and my own, I found so -many pretexts for postponing it that further delay would have roused -suspicion. They would have searched for the reason and found it, -perhaps. Then!--then, during the last two days when I did not see -you, I resolved to confess all to you.--This morning I attempted to -tell you--But I saw you so roused over a single thought of another -woman that I did not have the courage to cause a scene and withstand -your reproaches, which would have been needless, as I could not let -your tears cause me to forget my solemn obligations as a Christian, -my word as a gentleman and my most sacred duties. - -ZORAYA. Yes! All of your duties are sacred except those towards -me!--and you hope, do you not, that I have considered them as -fulfilled? - -ENRIQUE. Yes! - -ZORAYA. That I shall receive your return to me with open arms? - -ENRIQUE. That you will pardon me, at least, and join me in returning -faithfully to our love. - -ZORAYA. Oh, indeed!--More in love than ever! The contrast of the Moor -and the Spaniard! A variety of pleasures always prevents one's taste -from becoming stale! - -ENRIQUE. (Seating himself near her) But I do not love this child!--I -do not love her! - -ZORAYA. (Rising, going to the left) Yes, this is the cry of the -brutal, egotistical male!--You do not love her!--But it is to her -that you sacrifice me.--You do not love her, but I stop you on the -threshold of her room!--A few paces from her bed!--I should scorn -myself as a woman of the street if I could discover in my mind a -single thought which is not for you!--I should curse my eyes if they -gazed for an instant on any other face but yours!--Where could I -wash away the stain if any other lips than yours touched mine?--And -it appears natural for you to be at the same time the husband of your -wife and the lover of your mistress--to run from one to the other and -to bring to me smiling the dessert of your nuptial night!--And it is -you who say to me: "Believe nothing, nothing in the world but my love -for you!" Ah, coward!--coward! liar!--Here is your love!--Here it is! - -ENRIQUE. (Standing) My dear Zoraya! - -ZORAYA. (Quickly, restraining her tears) Oh, leave me! Wretch! Leave -me! I hate you! - -[She leans sobbing against a pillar at the left.] - -ENRIQUE. Lower! Speak lower!--I beg of you!--If they should hear us! - -ZORAYA. Oh! If only they would hear!--Let them come! and let them -kill me!--It is all the same to me if it happens now! - -[They hear the night watchman's halbert striking the pavement stones.] - -ENRIQUE. (Frightened and pointing to the street) Be quiet!--There is -some one there! - -THE WATCHMAN. (Outside, passing the door and chanting) Ave, Maria!---- - -ENRIQUE. (In a low voice) It is the watchman. - -THE WATCHMAN. It is the sixth hour!--I am the watchman! - -[He passes.] - -ENRIQUE. He has passed! (He goes to the steps and listens) But here, -these windows!--the valets!--(Scrutinizing the right vestibule) And -Joana! - -ZORAYA. Your wife!--It is not she who can hear us! - -ENRIQUE. (Frightened) What did you say? - -ZORAYA. (Standing motionless) Go, and find out for yourself. - -[Enrique goes up the steps and enters the room.] - -THE WATCHMAN. (In the distance) Ave, Maria! - -ENRIQUE. (In the chamber) Joana! Joana! - -THE WATCHMAN. (Farther away) It is the sixth hour. - -ENRIQUE. (With the same voice) Joana! - -THE WATCHMAN. (Faintly in the distance) I am the watchman! - -ENRIQUE. (Coming out of the room and standing frightened at the end of -the stairway) Ah, wretch!--It is you who did it? - -ZORAYA. Yes! It is I! - -ENRIQUE. (Descending the stairs rapidly) You have killed her? - -ZORAYA. Poor child!--She is asleep! - -ENRIQUE. (Going to Zoraya) I spoke to her--she heard nothing. I raised -her--she fell back cold. - -ZORAYA. She is asleep, I tell you. - -ENRIQUE. What power do you possess which will produce a sleep like -death? - -ZORAYA. What does it matter so long as this is only the appearance of -death!--She will sleep until the hour which I have set for her to -awaken.--And this is your punishment: when she awakens she will be -deaf to your voice, also distant and cold in your arms!--You will -then understand that your true wife was not this angelic creature who -wanted no other spouse than God, but the Moor, who gave you more love -in a single clasp of her hand than this nun in the entire abandonment -of her nerveless body, revolting at your caresses. - -ENRIQUE. (At her feet) What does it matter to me?--I shall not -dispute with that virgin over her celestial spouse. And I shall be -free for you, for you alone, without causing her grief, or me remorse. - -ZORAYA. (Drawing away) I do not care to put you to the test! - -ENRIQUE. You intend to leave? - -ZORAYA. Yes. - -ENRIQUE. Alone--tonight? - -ZORAYA. I intend to leave Toledo before dawn. - -ENRIQUE. To leave Toledo? - -ZORAYA. Ah! God, yes!--this accursed city which has nothing but -sorrow and peril for me! - -ENRIQUE. (Barring her exit at the door) What! It is absurd--you shall -not go! - -ZORAYA. You would prefer to deliver me to the Inquisition? - -ENRIQUE. Ah! How unworthy! - -ZORAYA. They are seeking for me--tonight, perhaps. - -ENRIQUE. And where are you going, poor child? - -ZORAYA. Into the Sierra, by paths known only to us, to the homes of -the rebels. Later I shall go to Africa and find refuge in my father's -brother's home in Tangier. - -ENRIQUE. And there will be between us the mountains, the rivers and -the sea!--And shall we always be apart, the one from the other? - -ZORAYA. You are the one who wishes it. - -ENRIQUE. No, I do not wish it--Give up your home!--It is wise--But -Toledo!--I know where I can find a refuge for you, which is free from -danger. - -ZORAYA. For instance, your wife's home! - -ENRIQUE. Ah! always she! - -ZORAYA. Yes! always she between us!--Always, always she! - -ENRIQUE. Neither she nor any person--No one in this world! - -ZORAYA. Do you say so truly? - -ENRIQUE. Before God! - -ZORAYA. You love so much as that? - -ENRIQUE. Yes! - -ZORAYA. You will sacrifice all for me!---- - -ENRIQUE. Yes! - -ZORAYA. (In his arms) Then! Come with me? - -ENRIQUE. (Thrilled) To the home of your kindred? - -ZORAYA. They will receive you as a brother! - -ENRIQUE. Me? A Spaniard--an enemy? - -ZORAYA. As my lover! - -ENRIQUE. With the rebels, me, a soldier?--Disclaim my king? - -ZORAYA. A tyrant! - -ENRIQUE. My God? - -ZORAYA. He is for every one. - -ENRIQUE. And an exile--forever an exile from my country? - -ZORAYA. My own country is the country where we may love. - -ENRIQUE. No, do not say so! It is a crime to listen to your words. - -ZORAYA. My adored Enrique! - -ENRIQUE. Deserter! renegade! perjurer. Traitor to all my duties for -all time! Never! even for you! Never! Never! - -ZORAYA. Stay then, coward, who has caused me to lose everything! - -ENRIQUE. Zoraya! - -ZORAYA. Go--return to your wife! - -[She opens the street door quickly to go out and recoils on seeing -Cardenos standing motionless on the threshold.] - - -Scene Six - -[The same persons, Cardenos] - -ZORAYA. (Frightened) Cardenos! - -[She goes to the left.] - -ENRIQUE. Cardenos here!--at this hour! - -CARDENOS. (Entering) I am not more surprised to see you myself, Don -Enrique, than to find you in such company. - -ENRIQUE. (Who places himself quickly between Cardenos and the door, -which he fastens) Is that advice, or a threat? - -CARDENOS. (Coldly) Neither one nor the other!--I am here by order of -the Holy-Office to arrest this woman (movement by Enrique to rejoin -and protect Zoraya) who practises sorcery. - -ZORAYA. That is false! - -ENRIQUE. Foolishness! - -CARDENOS. You seem to have forgotten the punishment in store for a -crime like yours. - -ENRIQUE. You are presumptuous! - -CARDENOS. (Continuing coldly) His Eminence, knowing that this woman -was seen to enter this house without coming out, entrusted me with -the task of watching at this door to arrest her without noise when -she came out and at the same time unknown to you. - -ENRIQUE. His Eminence had foreseen that I would not let you do it! - -CARDENOS. He has only foreseen your submission and confession for the -care which he has taken--out of regard for your name, your rank, and -your young wife, his pupil--to separate your case from that of your -accomplice, and inflict upon you only a penance which will reconcile -you with the Church! - -ZORAYA. (Quickly) Ah! if that is so, good--I will go with you! - -ENRIQUE. (Violently obstructing her passage) Are you foolish? (To -Cardenos.) Go tell Ximénès that he has no right to my confession -unless he provides the same indulgence for her whom he calls my -accomplice. - -CARDENOS. You shall say it to him yourself, Señor Enrique. (To -Zoraya) Come, you!--Follow me! - -ENRIQUE. (Stopping Zoraya) By God! This is insolence! - -ZORAYA. Enrique! - -ENRIQUE. Silence! (To Cardenos) And you--get out of here! - -CARDENOS. Be careful that you do not render indulgence for yourself -impossible! - -ENRIQUE. That is my own affair! - -CARDENOS. And you would lose it for nothing! - -ZORAYA. He has a reason!--Let me go! - -ENRIQUE. (Sharply to Cardenos) Are you not going? - -CARDENOS. I beg of you, my lord, to listen to the prayer of a man -as old as your father, and who has known you since you were a child. - -ENRIQUE. During that time you should have learned a better -profession than the one you are now engaged in. - -CARDENOS. He would say the same to you. - -ENRIQUE. He can blaspheme me if I have the infamy to deliver up the -woman whom I love.--And I would deserve the insults of all the -scullions of the city! - -ZORAYA. No! No! (To Cardenos) Do not listen to him. Take me away. - -[Cardenos places his hand on her.] - -ENRIQUE. (Stepping between them) Scoundrel! Do not touch this woman! - -CARDENOS. Do you refuse to let her go? - -ENRIQUE. I dare to say yes. - -CARDENOS. If there is a disturbance and a scandal it will be only -because you have wanted it! - -[He turns to go out. Enrique steps forward between him and the door, -putting his hand on his shoulder.] - -ENRIQUE. Where are you going? - -CARDENOS. Where I please. - -ENRIQUE. To bring your men? - -CARDENOS. You compel me to do so. - -ENRIQUE. You shall not go!--You shall not call them! - -ZORAYA. Ah! My God! - -CARDENOS. (Withdrawing to the center of the patio) Then, there are -our special valets who shall help me! - -ENRIQUE. (The same) You venturesome ruffian! - -CARDENOS. Let me go! - -ENRIQUE. No! - -CARDENOS. I shall call my men! - -ENRIQUE. I defy you to do so! - -CARDENOS. Help! - -ENRIQUE. (Leaping upon him) Silence! - -CARDENOS. (Drawing his dagger) Help! - -ENRIQUE. (Snatching it from him. He seizes Cardenos by the wrists and -throws him to the ground) Silence! Silence! - -CARDENOS. Help! - -ENRIQUE. (Seizing his throat) You will be silent, demon! - -[Cardenos, suffocated, beats the air with his hands, then falls -strangled at the right of the steps.] - -ZORAYA. (Leaping towards him) Ah! unfortunate man! What have you done? - -ENRIQUE. (Infuriated, stoops over Cardenos) What?--What have I done to -him? - -ZORAYA. (Raising his head) He is dead! - -ENRIQUE. (Frightened) No! - -ZORAYA. See! He is dead, I tell you! See! He is dead! He is dead! - -[She lets Cardenos' arms fall back.] - -ENRIQUE. Is it possible! - -ZORAYA. (Turning her eyes to the foot of the stage) Be quiet! - -[They see a lantern passing from one window to another, followed by -the sound of the opening of the middle window. Frightened, Zoraya -and Enrique seek refuge on the little stairway, hiding behind a -column and clumps of flowers.] - -RAMIRO. (Half-clad at the window, leaning in) Hello! Some one -called!--Who is there? (They hear another window opened opposite the -first one) Is that you, Ginès? - -GINÈS. (Invisible) Yes, master! - -RAMIRO. Did you hear that disturbance--those shouts? - -GINÈS. Yes!--They were calls for aid! - -RAMIRO. Was it in this house? - -GINÈS. More likely in the street--those belated drunkards! - -RAMIRO. Dress yourself, awaken Padillo.--We shall see! - -[He disappears, fastening the window.] - -ZORAYA. (Frightened, rising suddenly, in a low voice) They have gone! - -ENRIQUE. Except you, no one has seen me and none can accuse me! - -ZORAYA. That is folly!--A man comes to arrest me--who should kill him -but you? - -ENRIQUE. It is true!--Ah! God, God! Assassin!--Me! me! - -ZORAYA. Do not become excited or lament. What is done is done. We -shall not await them, shall we? - -ENRIQUE. Go then! - -ZORAYA. Alone? - -ENRIQUE. Go, Zoraya. - -ZORAYA. Without you--No! - -ENRIQUE. Merciful Heaven! What course shall we take? - -ZORAYA. Flight! - -ENRIQUE. And where shall we fly to? - -ZORAYA. Where I told you! - -ENRIQUE. It is dishonorable and my life will be lost! - -ZORAYA. Remain! Then you will lose it more quickly!--Come! Come -on!--Come!--Come! (She runs to the street door and opens it. They -hear sounds of voices outside and the scraping of guitars. She -quickly fastens the door.) The musicians! - -ENRIQUE. In the street? - -ZORAYA. (Despairingly) If they have come to give the morning serenade, -it is for us. - -[They listen anxiously. The musicians draw near, conversing and -laughing, while thumbing their strings.] - -A MUSICIAN. Shall we serenade Don Enrique Palacios? - -[Zoraya makes a movement of fright.] - -ANOTHER. Simpleton!--He cares much for your music at this moment! - -[Laughter.] - -ANOTHER. Besides, they did not pay us for serenading him! - -[Approbations. Enrique anxiously watches the house from the foot.] - -THE OTHER. (Farther away) Come, then! Laggards!--Not there, but in -the other street. - -ALL. Yes! Coming, coming! - -[They go away making the same sounds with which they came. Enrique -goes toward the foot listening for the valets' return.] - -ZORAYA. (Opening the door cautiously and looking into the street) They -are going farther away.--They have gone round the corner of the house. -(Shortly afterward they hear the distant serenade, a voice singing:) - - Oh! Love is the conqueror - Whose flames devour me! - Open thy heart, - Thy lover implores thee! - -(Zoraya opens the door and looks relieved) The street is clear. Come -quickly! (Seeing Enrique, who is searching for something on the floor) -Good God! what are you searching for? - -ENRIQUE. His dagger, which he dropped. - -[He picks it up and runs to the door.] - -ZORAYA. (Taking him in her arms) Ah! yes, yes!--Should they arrest us, -you will kill me! - -ENRIQUE. Yes, and myself afterward! - -ZORAYA. (Seeing a light at the door of the ground floor, at the foot) -Their voices! Quickly, come quickly! - -[She and Enrique hurry out. At the same time the door opens and Ramiro -quickly enters with two valets, one of whom carries a lantern. Ramiro -sees the body of Cardenos, snatches the lantern from the valets hands -and looks at the dead mans face.] - -ALL THE THREE. Cardenos! - -[One of the valets, seeing the street door open, runs to it and looks -into the street. The other joins him and they spring out, running -away and shouting: "Stop those assassins! Stop them! Arrest them!" -During this part of the scene, which is very rapid, the serenade -continues.] - -(Curtain) - - -ACT FOUR - -Scene.--The meeting place of the Tribunal of the Inquisition. It is -a low-vaulted chamber with ogive arches, lighted with candles. On the -walls are religious paintings. At the foot of the scene is a narrow -glazed window. At the right is a large high gate closing the entrance -of a corridor leading to the Episcopal palace. On the same side, in -the foreground, are seats of the Tribunal. Facing the left are an -altar and a wooden Calvary. On the other side of them are an iron -door and an arch leading to the jail. Seats and stools are scattered -about. It is three o'clock in the morning. At the end of the act dawn -begins to light the windows. - - -Scene One - -[The Members of the Tribunal, Fray Eugenio Calabazas, and Fray -Teofilo Ibarra, Dominicans, later Cleofas, Oliveira, Fray Miguel -Molina and Fray Hernando Albornos, Franciscans. An Usher of the -Tribunal, at the foot of the stage.] - -[As the curtain rises, Calabazas, seated, and Ibarra, at the left -outside, are discovered talking in a low voice. Cleofas and Fray -Hernando Albornos enter at the right.] - -CLEOFAS. (Advancing into the scene) I have slept so well after that -excellent feast! Nothing is more injurious to the health than being -startlingly awakened during one's first sleep. - -ALBORNOS. What business is so urgent that we must convene before -daybreak? - -CLEOFAS. (Joining the group at the left) You Excellencies should have -the goodness to tell us. - -CALABAZAS. We know no more about it than you. - -IBARRA. We were greatly surprised at the morning visit of the agent -of the Tribunal. We are here at the special request of His Eminence -to consider a pressing and serious matter. - -ALBORNOS. Then you have no idea what it is? - -IBARRA AND CALABAZAS. None. - -CLEOFAS. (To Molina, who enters at right) And you, my reverend father? - -MOLINA. No more than you. - -CALABAZAS. In any case, I think, without question, that the two women -whom we again examined after vespers are guilty of sorcery. - -MOLINA. Moreover, they confessed. - -IBARRA. That will simplify the task. - -CLEOFAS. (Seeing Oliveira, who enters at the left) Is it not the -opinion of my excellent colleague. Master Oliveira, that there is not -sufficient evidence to condemn them? - -[All turn toward Oliveira with questioning looks.] - -OLIVEIRA. Since my very venerable colleague has obliged me to give my -humble opinion, I must confess that one of the two women, the one -called Afrida, appears to me to be an old fool, who after having been -forced to listen to sorcery and witchcraft, is possessed with the -idea that she is on intimate terms with a demon. She accepts her -dreams and nightmares as realities and every woman and girl whom she -knows she accuses of having attended a witches' revel. A dozen of -these unfortunates have been placed in our dungeons since yesterday. -If we listened to that vixen all of the women of Toledo would be -sorceresses--especially the young ones! - -CALABAZAS. Has she not a reason for accusing them if she has seen -them at these revels? - -[Murmurs of discreet approbation.] - -OLIVEIRA. For her to have seen them, my father, it would have been -necessary for her to have gone there herself. - -IBARRA. She partook in them. - -MOLINA. And you doubt that? - -OLIVEIRA. For a good reason!--As she pretended, in spite of the -confining walls of her dungeons, to be able to attend the revels -again, I determined to see for myself whether she was telling the -truth. Three times during the night I found her sleeping deeply on -the pallet in her cell in the prison. When she awoke she told me all -that she thought she had seen at the home of the devil! - -ALBORNOS. If you were more experienced in these matters. Master -Oliveira, you would know that these sorceresses can leave their -bodies lying in their beds and at the same time attend these -Satanic love-feasts. - -[Murmurs of approbation.] - -CLEOFAS. And that in the same body the devil can place one of his -imps, who will not change its appearance. - -[Renewed approbation.] - -CALABAZAS. And the other sorceress?--This young peasant woman from -Torrijos, whom they found in a wood at dawn stretched naked on ground -which had been trampled by infernal dances and which was still -littered with the remains of an infernal feast and firebrands and -ashes--Master Oliveira, do you believe she too is innocent? - -OLIVEIRA. I have good cause to believe it!--She is a poor girl from -the fields who was seduced by her master, who abandoned her and her -child and left them in deep misery. A passing vagrant invited her to -go to a witches' meeting where Satan would provide her with plenty -of gold. He took her to a nocturnal gathering of beggars and -ragamuffins, who with the aid of some rogue put her into a sleep, -from which she awakened at dawn with the vague memory of horrible -debauchery!--An orgie! Yes! But witches' meeting?--Who will prove -it?---- - -CLEOFAS. The sigillum or stigma Diaboli, Master Oliveira! That mark -which the devil makes with his pitchfork, or the horny spots on the -bodies of his creatures, such as we have found, you and I, in two -places on this girl's skin. Our needles penetrated them without -drawing blood and they were not felt. - -[Murmurs of approval.] - -OLIVEIRA. I found three on the body of the Superior of the -Incarnation, who afterward died in unquestioned sainthood! - -[He walks toward the foot of the stage, followed by the eyes of the -displeased Inquisitors.] - -CALABAZAS. (In a low voice) This surgeon is too much of a reasoner! - -CLEOFAS. You need say nothing to me about it!--If they listened to -him they would burn no one! - - -Scene Two - -[The same persons, then Padilla, followed by D'Aguilar, notary of the -tribunal.] - -[Padilla, pale and agitated, quickly enters at the left.] - -THE USHER. (Announcing) His Excellency, the Governor. - -[All salute Padilla, who looks about for Ximénès and stops.] - -PADILLA. His Eminence is not here? - -ALBORNOS. Not yet, Lord Padilla. - -PADILLA. I want to see him!--I must speak to him! - -[He makes a movement to leave.] - -CALABAZAS. Be pleased to wait for him with us. - -PADILLA. Yes! yes! (To Calabazas) Ah! my father, do you believe it! -A gentleman, a soldier! my son---- - -[He goes toward the iron door and waits for Ximénès. The Inquisitors -surround D'Aguilar in the foreground.] - -MOLINA. (To D'Aguilar in a low voice) Some misfortune has befallen -His Excellency? - -D'AGUILAR. (In a low voice) Your lordships, then, do not know why you -are called to meet at this hour? - -ALL. (With low voices) No!--Why? What is it?--We know nothing about -it! - -D'AGUILAR. (The same) Lord Palacios has been arrested. - -ALL. Arrested! - -CALABAZAS. Don Enrique? - -D'AGUILAR. For assassinating Cardenos!---- - -ALL. Good God!--Is it possible! Our Agent! - -D'AGUILAR. With the assistance of a woman!--Both were fleeing towards -the river when stopped by pedestrians, who heard shouts in the -distance. The fugitives were flung to the earth at the entrance of an -alley. The woman cried to Don Enrique desperately and in vain: "Kill -me! Kill me!" - -CLEOFAS. A Mooress? - -D'AGUILAR. Yes. - -CLEOFAS. It is Zoraya! - -THE USHER. His Eminence! - -[All turn to the right to salute the Cardinal.] - - -Scene Three - -[The same persons, Ximénès, Gil Andrès, Keeper of the Jail, two -monks, two aides to Gil Andrès stand at the entrance of the iron -door at the left. Two Franciscan monks watch at the foot of the stage -during the act.] - -XIMÉNÈS. (To Padilla) God has summoned you to a cruel ordeal, -Padilla! I had given to Cardenos orders with the object of sparing -you. Who had foreseen this at the hour when I blessed the young -couple in the cathedral--your unfortunate daughter? - -PADILLA. She has heard nothing about it. I found her in a deep sleep -and I ordered them not to awaken her. I would always be too soon to -tell her the truth. May God will that at the same time she shall -learn that Don Enrique is innocent of the crime with which he is -accused! - -XIMÉNÈS. No!--He confesses it! - -[All start.] - -PADILLA. The assassination? - -XIMÉNÈS. Yes!--The assassination, his infamous relation with the -Saracen woman and his plan of fleeing to African soil. - -[All are indignant.] - -PADILLA. (After a gesture of despair) The more monstrous the crime -the stronger is the proof that he has lost his reason! - -XIMÉNÈS. It is for this, Governor, that I have called this hasty -convocation of the Tribunal before the scandal bursts forth--Toledo -must not know at its awakening that a member of the Council of -Castile, one honored with royal favor, commander of the archers and -crossbowmen of the city, son of a long line of Christians, brave -soldier and your son-in-law, has committed such crimes without -knowing that he had a right to some explanation--being under the -spell of this woman's sorcery--And that is what all say! Where is -Gil Andrès? - -OLIVEIRA. (Pointing at Gil Andrès at the foot) Here, Eminence! - -XIMÉNÈS. (To Gil Andrès) Has she spoken some word of confession? - -GIL ANDRÈS. None, Eminence. She has said nothing since she asked -about Don Enrique. She appeared to care less about her own delivery -than about his. - -XIMÉNÈS. Is she there? - -GIL ANDRÈS. Yes, Your Eminence. - -XIMÉNÈS. Go get her! (Gil Andrès goes out at left with his two aides. -To Padilla) Your Excellency may sit down. The Tribunal authorizes you -to assist in questioning. (Padilla bows. The Tribunal is installed. -Ximénès sits on a chair before the other judges. Padilla is seated at -the right on a stool lower than the platform. The notary sits at a -little table behind him. The two physicians are seated on stools at -the side of the platform near the iron door at the right. All wait.) -My brothers, never more than at this hour had we a better reason for -addressing God with our usual prayer: Dominie, auxilium, in reperienda -veritate, sit nobis. Spiritus Sanctus, ad majorem Fidei gloriam. - -ALL. Amen! - -XIMÉNÈS. Exaudi nos, Domini. - -ALL. Amen! - -[They seat themselves, Gil Andrès opens the iron door at the left.] - -XIMÉNÈS. (To Gil Andrès) Bring in the Mooress! - -[Zoraya is brought in through the iron door. With a gesture Gil Andrès -compels her to advance into the middle of the scene where she stops -and waits.] - - -Scene Four - -[The same persons, Zoraya] - -XIMÉNÈS. (To Cleofas, who rises and salutes) Do you wish to speak, -Master Cleofas? - -CLEOFAS. With the permission of Your Eminence, before the accused -is questioned, I should like to inform the Tribunal that, contrary to -the royal edict, she has persisted in continuing the damnable Arabian -custom of painting her eyelashes, eyelids and eyebrows; and I will -wager that her heels and toenails are gilded. - -XIMÉNÈS. (To Zoraya) Is this true? - -ZORAYA. Yes, Your Eminence. - -[Cleofas seats himself.] - -XIMÉNÈS. Let that pass--And, Rain of Heaven, if she has not greater -crimes to expiate! (To Zoraya) Your name? - -ZORAYA. Zoraya, daughter of the scholar and physician, Abou-Abassa. - -[Ironical gesture from Cleofas at the name physician.] - -XIMÉNÈS. Your father, it appears, was a genuine necromancer? - -ZORAYA. That is the calumnious assertion of ignoramuses, who interpret -as diabolical everything which surpasses their own knowledge. - -XIMÉNÈS. He left you the knowledge of his art of healing? - -ZORAYA. Yes, Your Eminence. - -XIMÉNÈS. Without magic? - -ZORAYA. Yes, without magic. - -XIMÉNÈS. You are accused of improper relations with Don Enrique -Palacios. The charge is not doubted, as your accomplice has confessed. - -ZORAYA. Neither do I deny it. - -XIMÉNÈS. You know, of course, that for you awaits the dungeon and for -him the galleys! - -ZORAYA. Love is stronger than fear! - -[The Governor rises and salutes Ximénès.] - -XIMÉNÈS. You may speak, Governor. - -PADILLA. Ramiro has told me about the first meeting of Don Enrique and -this woman, who had stolen the body of Kalem. He came to me and -confessed something which he had always kept secret out of affection -for his master--that Don Enrique was compelled to release this wretch -while visibly fascinated by her looks and magic words, which she used -to obtain her liberty. - -XIMÉNÈS. (To Zoraya) Do you hear that? - -[The Governor sits down.] - -ZORAYA. I had recourse to nothing but the usual attractions of all -women. - -XIMÉNÈS. And you have not made him mad with love for you with the use -of incantations, philters, evil methods? - -ZORAYA. With no other philter than my ardent love for him! - -XIMÉNÈS. Briefly, you deny being a sorceress? - -ZORAYA. If I were one, I should be far from here! - -XIMÉNÈS. The Evil One enjoys abandoning his followers during their -time of peril. And you are suspected of sorcery for good reasons, -being the daughter of a man accused of magic and an unconverted -Mussulman--Why have you not renounced Mahomet for Christ? - -ZORAYA. I saw that the Christians were no better than we. - -[Movements among the members of the Tribunal.] - -XIMÉNÈS. And, naturally, you deny being at a witches' revel? - -ZORAYA. Ah! certainly, yes, I deny it! Yes, I deny it! - -XIMÉNÈS. You are not, then, afraid to have it proved to you--you -defend yourself with such warmth? - -ZORAYA. How can I prove my innocence if my denials are taken as -confessions? - -XIMÉNÈS. We shall see what they are worth. (To Gil Andrès) Bring in -the two women who are there. (To Zoraya) You may be seated. - -[Zoraya sits down at the left on a seat next to that occupied by -Calabazas.] - - -Scene Five - -[The same persons, Manuela, Afrida] - -[Gil Andrès makes both women enter at the left at the same time. The -younger one remains at the foot of the stage between the two aides, -while Gil Andrès pushes before him old Afrida, whom Zoraya regards -with surprise and disgust.] - -XIMÉNÈS. (To Afrida) Come forward! (Gil Andrès, with a blow, forces -Afrida to go forward. To D'Aguilar) Write: "Afrida." (To Afrida) You -confessed the other day--(Afrida, without looking at him, makes a -sign to him with her left hand to keep silent; with her right hand -she makes a trumpet to her ear for listening) What is this?--Are you -mocking us? - -GIL ANDRÈS. With your permission. Your Eminence, she is thus -frequently seen holding her ear to listen to her favorite demon, whom -she calls Verdelet. - -XIMÉNÈS. That demon there is very bold to face us in our home! Hello -there! woman, dismiss this bad gallant and answer this Tribunal, -which was not called for his attendance. - -[Afrida smiles like an idiot and makes a sign with her hand.] - -AFRIDA. Patience!--patience!--There he goes! - -[She laughs stupidly.] - -XIMÉNÈS. What are you laughing at, old ribald? - -AFRIDA. (Looking the same) At the face he made when he went out. - -XIMÉNÈS. Take care that you are not seated on a wooden horse! (She -attempts to speak) Enough of those mummeries. You confessed the other -day of practising evil acts upon your neighbors, causing their -children and fowls to die, of setting fire to their roofs and sending -hail upon their fields. - -AFRIDA. To avenge myself upon those who were happier than I. - -XIMÉNÈS. You confessed to being at a nocturnal revelry attended by -witches, did you not? - -AFRIDA. Oh! I have often been (counting on her fingers) more than -thirty times. - -XIMÉNÈS. By what power do you go? - -AFRIDA. The black sheep or the large red cat, which come to take me -from my bed while I sleep--And then. Gee-up! gee-up! across the -fields, accompanied by the sound of bells to where they are -assembling. There the great devil Astaroth, on seeing me, says: "Ah! -here is my little Afrida! Come, mignon, come here that I may pet -you!" For she loves me above all and always says: "Go, fear nothing, -my little chicken. If they want to burn you, I shall drag away the -wood before all the world. And we shall laugh then. Oh! we shall -laugh well! Ah! how we shall laugh then!" - -[She writhes and chokes with laughter, after being seated on a step -at the foot of Ximénès. - -XIMÉNÈS. Yes, yes! we laugh! That is admitted!--And those whom you -accuse of having been at the revel with you--will Astaroth also save -them from the fire? - -AFRIDA. (Hatefully) Oh! those who have treated me like an old fool, -those who are young and togged out, I shall surely let them burn on -your fire, while Astaroth carries me away! - -XIMÉNÈS. Turn your eyes a little to that side (indicating to her -Zoraya) and look at that woman. (She rises, pointing to Zoraya) Yes, -she there!--Does she not remind you of something? - -AFRIDA. (Approaching Zoraya and leaning over her) Yes!--I have seen -that nose there somewhere! Raise your eyes a little, beautiful! What -makes you dislike to see me--(Suddenly) Yes! yes! I remember -her!--Here is one of them!---- - -XIMÉNÈS. One of whom? - -AFRIDA. One of those from below, there!--One of those who danced at -the witches' revel! - -ZORAYA. (Indignant, rising) Me? Me? - -AFRIDA. Yes, you! Do not now become a straight-laced prude; I have -seen you as clearly as I see you now--carousing with us!---- - -ZORAYA. But, you lie, you wretch!--You lie!--Do not believe such -execrable foolishness! - -AFRIDA. (Furious) Foolishness!--Ah! you treat me as a fool, -also!--Yes, my lords, yes, I have seen her, I tell you; I have seen -her enraptured in the arms of a goat-headed devil! - -ZORAYA. Oh! it is false! It is false! - -AFRIDA. (Following her in the scene and walking round her) Go! go! -You were given by the Evil One to be rich and beautiful! You will be -roasted, my girl! (Laughing) Roasted, those beautiful eyes so -fiery!--roasted your skin so white, which all the men want to cling -to--roasted all that, roasted, roasted! - -[At a motion from Ximénès, she goes out, crying, following by Gil -Andrès.] - - -Scene Six - -[The same, without Afrida] - -ZORAYA. Ah! the horrible old woman!---- - -XIMÉNÈS. An insult is not a reply!--She affirms; you deny. The -accusation stands. And the Tribunal judges. (To Gil Andrès) Bring the -other. (They make come forward Manuela, who is weak and trembling -with fright) You, also, you have confessed it!--You have gone to the -witches' revels? - -MANUELA. Only once, Your Eminence--Only once! Mercy! - -XIMÉNÈS. That is once too often! - -MANUELA. I was so unfortunate!--My employer drove me from his home -when he discovered that I was to become a mother--for he was the -father of the child. I was too weak to work in the fields and no one -would keep me because my poor baby, which I nourished with my thin -milk, was so hungry that It cried all of the time!--Ah! I have never -known anything but shame and misery!--I have prayed fervently to -God--He has done nothing for me--Then--Ah! my benevolent lords!--(She -falls upon her knees on the steps before Ximénès and weeps) Have -pity!--I have harmed no one!--And I am punished enough now! - -XIMÉNÈS. (Severely) What else? - -MANUELA. Then--a gypsy woman, who saw me on my knees before a cross -on the road where I had been begging, said to me: "You are foolish -enough to address that object, which helps only the happy ones of -this world! Charity for the poor comes only from the Other One!--Come! -go home with me and you will see for yourself. He loves the jolly -girls and will give you an apron full of gold!" - -XIMÉNÈS. And you went to the home of the Other One? - -MANUELA. That night--after having left my child with a woman as poor -as myself--the gypsy woman conducted me into a wood where many men -and bad women were feasting round a fire!--They gave me food and -drink and more and more of--I know not what kind of liquor--until I -became like a fool!--And after!--Ah! God, no, oh! no, I cannot -relate that!--In the morning I lay asleep on the ground, poorer than -before, for my miserable, ragged clothes were gone! The archers threw -me into a dungeon, where I have done nothing but shed tears day and -night, thinking of my poor little baby! I do not know what has become -of that! They will not tell me! (Sobbing) Ah! my good lords, do not -make me more miserable! If they intend to burn me, why should I not -be the first one selected from those doomed to die? - -XIMÉNÈS. Raise your head--and look at this woman. (Manuela obeys) Do -you recognize her as one of those who attended the witches' revel? - -MANUELA. (After looking at Zoraya) No, no, Your Eminence. - -XIMÉNÈS. Look at her carefully. And remember that you will receive -some consideration if you answer frankly. - -ZORAYA. (Going to her) Yes, look at me. - -MANUELA. (Tremblings after looking at Zoraya) They made me drunk--I -had no reason left--I do not remember clearly!---- - -XIMÉNÈS. Are you afraid that she will avenge herself?--She cannot -harm you!--Then, confess that you saw her at this diabolical feast! - -MANUELA. (With the same voice) I cannot remember! - -XIMÉNÈS. Take care, for we have sure methods for refreshing your -memory. - -MANUELA. Have mercy, my lord!--I am telling the truth! - -XIMÉNÈS. No!--You recognize her, but will not admit it! - -MANUELA. Should I accuse an innocent one!--condemn her without being -certain?--I shall lose my soul! - -XIMÉNÈS. The safety of your soul depends upon us--as does that of -your body!--Then, you have seen her, have you not? - -MANUELA. I am not certain!-- - -XIMÉNÈS. (With the same voice) Andrès! - -MANUELA. (Frightened, between his knees) No, no! Have mercy!--mercy! -Do nothing more to me! - -XIMÉNÈS. (Very sternly) Do you recognize her? - -MANUELA. (In tears) Yes, yes! I know her!--I recognize her! (Falling -on her knees at Zoraya's feet) Ah! pardon, pardon me!--I am too weak! - -ZORAYA. (Very much moved) Yes, poor girl, yes! I pardon you! - -XIMÉNÈS. (To Gil Andrès) Take her away! - -[Gil Andrès raises Manuela and leads her away, sobbing.] - - -Scene Seven - -[The same persons, without Manuela] - -XIMÉNÈS. (To Zoraya) Here is more testimony against you. - -ZORAYA. (Indignant) Testimony!--of that unfortunate girl! - -XIMÉNÈS. According to her own confessions!-- - -ZORAYA. Ah! her confessions!--made under the threats of your -tortures! (Movements among the members of the Tribunal) You can find -whatever pleases you with the aid of him, there. (She points to Gil -Andrès) You can convict with false testimony and you can make -innocent ones confess crimes which they never committed. You, -yourself, Bishop, under torture would admit going to a witches' -meeting! - -[The Inquisitors make movements of astonishment.] - -XIMÉNÈS. (Calmly) It is not likely that I shall have occasion to -submit to such a trial!--Prove to us that these women have lied! - -ZORAYA. And how do you want me to prove it?--Is It possible for me -to do so?--You, can you prove to me that these women are telling -the truth? - -XIMÉNÈS. That is the opinion of the Tribunal. - -ZORAYA. Then all of them say that I must be found guilty at any -price. That could be done in a quicker and less cowardly manner. - -[Murmurs of indignation from the Inquisitors.] - -XIMÉNÈS. Do you mean to defy us? - -ZORAYA. Yes, I defy all of you! If I am to be condemned before I have -an opportunity to defend myself, I shall have, at least, the pleasure -of shouting my hatred to this Tribunal of the Church, which instead -of being more human than those who believe in other religions, is -more ferocious! - -[Exclamations from the Tribunal.] - -CALABAZAS. Your hatred, villainous Mooress! - -ZORAYA. Yes, my hatred!--Yes, I abhor you!--I abhor you!--Priests!-- -who set upon a vanquished people like jackals upon the bodies of the -dead after the battle! - -[Protestations from the Tribunal.] - -XIMÉNÈS. Let her alone!--her lips are betraying the disease from which -she is suffering. - -ZORAYA. All the humiliations and sorrows of defeat--we have known -them. They have changed our mosques into churches, our courts into -kennels, our schools into stables! They have broken our aqueducts, -drained our fish-ponds, burned our mills and wine-presses, cut down -our orchards and made such a desert of the flowery plain of Granada -that a bee cannot gather honey upon it! But that was not enough for -us--we must have misery, famine and the brutality of soldiers! There -must be refined cruelty at least, so you invented the Inquisition.-- -Thanks to that, you can assure yourselves with joyful hearts that we -are punished like hardened heathens, that we perish in your -oubliettes and that we are burned alive in the name of your Savior, -who taught only mercy and goodness! (Pointing to the Calvary) And, -that prophet--your God!--crucified by the Inquisitors of his time!--A -martyr, whom you make an executioner! (There is a movement of protest -among the Inquisitors, two of whom rise indignantly. Zoraya turns -toward the Christ on the Calvary and addresses it) God of the -Christians!--They have nailed thy feet and thy hands, so that thou -canst not come to the aid of the unfortunate! But, if thou canst not -tear thyself from the cross, cry at least unto these infamous judges -that they need not look elsewhere for Hell and the gathering of -witches--Here is the Hell where they sacrifice human creatures, where -they offer to thee as hymns the lamentations of the tortured, and as -incense the smell of burning flesh! Here is Hell, Hell with its -furnaces, Hell with its damned, Hell! Hell! with its demons! - -[She falls choking and weeping upon the seat at left. The -Inquisitors, protesting, rise and advance into the middle of the -scene, all speaking at the same time.] - -ALL. Blasphemy!--Blasphemy! - -ALBORNOS. Shall we let this Saracen continue to insult the Tribunal? - -CALABAZAS. And the Church! - -IBARRA. The sentence!--Eminence! the sentence! - -XIMÉNÈS. (Who remains seated) Be calm!--She is not alone a blasphemer -to the Governor and me.--She is a sorceress! - -ALBORNOS. That has been proven! - -XIMÉNÈS. Not yet. I must have more testimony in the form of a -confession. - -PADILLA. Then torture her! - -XIMÉNÈS. This woman?--All of our torments would not wrest one word -from her. - -ALL. What other means will you use, Eminence? - -XIMÉNÈS. (Rising) Then!--(Loud enough for Zoraya to hear him) We -shall question her accomplice (Zoraya starts) and ask him to explain -the reason for the murder of Cardenos, which he confesses, and (Zoraya -again starts) why this woman was in his house on such a night. - -ZORAYA. In spite of that he!---- (She rises quickly.) - -XIMÉNÈS. It is not for you to plead his case!---- - -ZORAYA. (Quickly, going to Ximénès) Yes, yes! it is I! (Ximénès makes -a sign to Gil Andrès.) Wait!--Oh! wait, wait, then! (Andrès stops.) -It is only I who can explain for him!--He was maddened by my tears, -my reproaches, my furious jealousy!--The other arrived and insulted -me--then, in the height of his rage!--Ah!--that crime--I am more -guilty than he! Would he have killed him, had I not been there? - -[All of the Inquisitors advance and group themselves at her left.] - -XIMÉNÈS. (Quickly going to her) Then you wish to convince us that -this murder is your work? - -ZORAYA. Yes, it is my work! - -XIMÉNÈS. It is you who caused this unfortunate man to become an -assassin? - -ZORAYA. It is I!--It is I! - -XIMÉNÈS. And by his flight, a deserter and a renegade? - -ZORAYA. Yes! yes!--It is I!--It is I! - -XIMÉNÈS. And is that not enough, wretched woman! It must be that you -are bent upon his utter ruin! - -ZORAYA. I? - -XIMÉNÈS. For you have condemned him to death! - -PADILLA. Without pity, too! - -ZORAYA. (Going to Padilla. Ximénès is at her right, Padilla at her -left, Albornos and Ibarra stand behind her.) Oh! how horrible! I -would give my flesh and blood to save him! - -XIMÉNÈS. No!--You can do that with one word!--And you are too -obstinate to speak it! - -ZORAYA. One word? - -PADILLA. Tell the truth! - -ZORAYA. But, I told it!--I told the truth! - -XIMÉNÈS. (Whispering in her ear) No!--there is one thing which you -have not admitted--one thing, alone--which will make him innocent of -all crime! - -PADILLA. And save him from all punishment! - -XIMÉNÈS. The cause of his madness! - -PADILLA. Madness due to your witchcraft! - -ALBORNOS. And your philters! - -XIMÉNÈS. And your poisons! - -[All are silent for an instant, during which Zoraya looks at them -stupefied.] - -ZORAYA. Ah! I understand!--I understand! (The Inquisitors are silent) -You want me to save him? Yes, it is true! It is true! If I have made -him mad with some kind of a philter, he is unconscious of his acts! -He is not guilty! He is more my accomplice! He is my victim! That is -what you want, is it not?--Is it not? - -XIMÉNÈS. And he escapes execution. - -PADILLA. He will be sent to the galleys! - -XIMÉNÈS. To prison! - -ZORAYA. (Quickly) He is free? - -XIMÉNÈS AND PADILLA. Yes. - -ZORAYA. Ah! say so, then!--say it, then! On that condition, yes! on -that condition! I will confess to whatever you wish!--(Movement of -satisfaction among the Inquisitors.) But, when will you set him at -liberty? - -XIMÉNÈS AND PADILLA. On the spot! - -ZORAYA. Then! Quickly! quickly!--Tell me what I must say! - -[Ximénès returns quickly to his seat. Between two guards, Enrique -appears at the iron door. Padilla makes him advance to the left out -of sight of Zoraya, whom the Inquisitors surround, seated and -standing. The clerk writes. All this takes place rapidly.] - -XIMÉNÈS. (Leaning toward Zoraya) You confess of your own free will -and with repentance that you compelled Enrique Palacios to love you -madly---- - -PADILLA. (To Enrique, in a low voice) Do you hear that? - -XIMÉNÈS. And that while infatuated he was guilty of crimes of which -he had no knowledge, that his conduct was caused by philters you had -given him and by enchantments and other tricks of the black art! - -ZORAYA. (Quickly) Yes! yes! I confess it! - -XIMÉNÈS. You confess? - -ZORAYA. Oh! is not that enough? - -XIMÉNÈS. And that you went to the witches' dance? - -ZORAYA. Yes! yes! I confess. - -[Padilla restrains Enrique from moving forward.] - -XIMÉNÈS. That you have taken part in diabolical feasts and obscene -dances? - -ZORAYA. Yes! - -[Enrique again attempts to go forward.] - -XIMÉNÈS. And that you gave up your body to the lusts of all present, -sorcerers and demons? - -ZORAYA. Yes! yes! - -ENRIQUE. (Restrained by Padilla and Gil Andrès) Ah! accursed one! - -ZORAYA. (Turning) Him! Oh! (She attempts to rush to him, but others -prevent her.) No! Do not believe that! My Enrique! Not that! not -that!--Do not believe it! - -ENRIQUE. Away from me, prostitute of Hell! - -[Padilla pushes him to the door.] - -ZORAYA. I have lied!--It is false! It is false! - -XIMÉNÈS. (Sternly) It is false! Detain that man! (The guards step -before Enrique. To Zoraya.) Is it false? - -ZORAYA. No! no!--It is true!--I confess! I confess! It is true! - -[She falls upon the steps exhausted. Padilla drags Enrique out of the -door at right.] - -XIMÉNÈS. We shall burn her after vespers! - -(Curtain) - - -ACT FIVE - -Scene--Before the Door of the Lions of the Cathedral of Toledo. At the -right, the portal in front of which are a number of steps. In the -foreground, an alley. There are two other alleys: one very narrow, but -passable, leads obliquely past the church; the other, at the left, -faces the scene, is wider and sloping. At the left, in the foreground, -is a house beyond which is a street and a pyre for burning victims. It -is near the close of day and the heavens are red with the glow of the -setting sun. Two archers guard the pyre. Two others stand at the -entrances of the alleys at the foot of the stage. - - -Scene One - -[Doña Rufina, Doña Syrena, Ramiro, Rioubos, Velasco, Ambrosio, -Cristobol, Torillo, later Cleofas, people, monks, soldiers, women and -children.] - -[There are few persons in the scene, with the exception of some men -conversing near the doors. A group of gentlemen, among them Cristobol, -Velasco and Rioubos, enter from the alley at the foot of the scene and -stop to look at the pyre. Doña Serafina, Doña Rufina and Doña Syrena, -preceded by Ramiro, enter from the other alley at the same time that -Don Ambrosio and Doña Fabia come out of the house at the left. Men, -women and children are coming out of the Cathedral.] - -RAMIRO. Here is the pyre! - -DOÑA RUFINA. They intend to burn her tonight, do they not? - -RAMIRO. In a short time, Señoras--have patience. I have seen them come -out of the prison. - -[After examining the pyre, they join Fabia and Ambrosio in front of -the house.] - -DOÑA SYRENA. (To Ramiro) Is there anything new concerning Don Enrique? - -RAMIRO. Yes, good news!--His Lordship is free! - -DOÑA RUFINA AND DOÑA SYRENA. Ah! so much the better! - -RAMIRO. His Eminence has gone to carry the news to the king, leaving, -as always, his business in secular hands--that is to say, leaving His -Excellency, the Governor, the task of fulfilling the sentence:--for -the Church will not spill blood! - -DOÑA SYRENA. Where is Don Enrique? - -RAMIRO. At this moment, I do not know. (Cleofas comes out of the -church with two persons, who salute him and bow.) Here is Cleofas -coming out of the church. He will tell you. (He calls.) Master -Cleofas! - -CLEOFAS. Ah! at your service! (He approaches.) Charming ladies!---- - -DOÑA RUFINA. We were speaking of Don Enrique. - -DOÑA SYRENA. Saved, by the grace of God! - -AMBROSIO. Was he released without punishment? - -[The young men form in groups round Cleofas and the others in the -foreground at the left.] - -CLEOFAS. Pardoned!--This evening he will enter the Franciscan -cloisters to do penance for three months. He will live on bread and -water, wear hair-cloth and sleep on cinders. - -DOÑA RUFINA. That is a jolly honeymoon! - -DOÑA FABIA. And what does his young wife say? - -CLEOFAS. Doña Joana? - -DOÑA FABIA AND DOÑA RUFINA. Yes. - -CLEOFAS. She says nothing! Since yesterday she has been in such a -deep sleep that they cannot awaken her. - -ALL. (Turning) Since yesterday! Is that possible! - -CLEOFAS. His Excellency, the Governor, was rejoicing this morning -because his daughter knew nothing of what had happened during the -night. But they are now very much concerned. She had these sleeps -in the convent. But this is a longer sleep than the others, they -say. Cleofas is the only one to work over her. - -ALL. Naturally. - -CLEOFAS. Naturally!--I cannot make her show a sign of awakening. - -ALL. Ah! - -CLEOFAS. Pinchings, prickings! I have tried everything except the -red-hot iron, to which His Excellency objects! Pain has vanished! As -the Mooress has bewitched the poor child, my art is ineffective. I -have advised the only effective remedy: exorcism in the same church, -before the highest altar. (They hear the chants of young girls.) His -Excellency and Don Enrique have had the patient carried into it--and -they are praying that the demon which possesses her will be chased -away. Master Oliveira, whom I left there, will be likely to profit -and become an exorciser himself. - -[He salutes and takes leave.] - -DOÑA RUFINA. And you are going? - -DOÑA SYRENA. Without seeing them burn the Sorceress? - -CLEOFAS. Pooh! I have seen such things as those so often that I no -longer find them tasteful. - -[He leaves by the alley at the right. The others, grouped at the -left, look at Don Enrique, who comes out of the church and slowly -descends the steps.] - - -Scene Two - -[The same, without Cleofas. Don Enrique, Ramiro, Torillo] - -ENRIQUE. (Calling Ramiro, who is giving some orders to his archers) -Ramiro! - -RAMIRO. (Turning and quickly going to him) Ah! my lord! What a relief -your deliverance is to those who love you! (He kisses his hand.) And -what joy you, yourself, must feel! - -ENRIQUE. I am very sad, Ramiro, at the sight of the pyre. - -RAMIRO. Has Your Honor not come to await the arrival of this creature? - -ENRIQUE. Guilty as she is, I have loved her too well not to pity her. -Tell Torillo to come here and consult with me. (Ramiro speaks in a -low tone to Torillo. The songs in the church cease, Ramiro goes to the -archers. Torilla goes to Enrique in the foreground.) Are you the -person who compels the condemned ones to mount the pyres? - -TORILLO. Yes, my lord, and I also light the fires. - -ENRIQUE. How can you sleep after doing such work? - -TORILLO. From habit. - -ENRIQUE. You often save the victims from the horror of being burned -alive, do you not? - -TORILLO. Yes, when the Holy Tribunal gives orders to strangle them -and attach them to the stake! - -ENRIQUE. You have not received such an order for her? - -TORILLO. No, my lord. - -ENRIQUE. They tell me that the parents or friends of the condemned -frequently ask such a favor of you? - -TORILLO. It is true, my lord. - -ENRIQUE. And do you consent to give it? - -TORILLO. For charity. - -ENRIQUE. And for your own advantage, also? - -TORILLO. Those are my little profits. - -ENRIQUE. That must be done for her.--What price have you set upon -such concessions? - -TORILLO. I shall leave that to the judgment of Your Grace. But, being -an honest man, I must tell you that a similar request has been made. - -ENRIQUE. By whom? - -TORILLO. By a woman-servant, she told me, in the service of the -condemned. - -ENRIQUE. Aisha? - -TORILLO. I do not know. - -ENRIQUE. Has she paid you? - -TORILLO. She has given me ten ducats for agreeing to give to the -Mooress a little waxen pill the instant that I untie her hands for -public penance. - -ENRIQUE. Yes! yes! I understand!--You have consented? - -TORILLO. I promised without fully deciding to do so! But, now that -Your Grace desires it also---- - -ENRIQUE. Ah! God, yes!--and you shall have a thousand ducats tomorrow! - -TORILLO. The bargain is concluded, señor. - -[He turns to go.] - -ENRIQUE. (Detaining him with a gesture) But how can you prove to me -that you will keep your promise? - -TORILLO. Because the victim will not utter a cry when I set fire to -the pyre; if she restrains then she is dead. - -ENRIQUE. If she is unable to utter a cry, or a groan, I will double -the sum. - -TORILLO. The bargain is settled, my lord. - -[He salutes and goes away. Enrique turns to enter the church. Bells -begin to toll. The assistants go to the foot of the stage to await -the arrival of the procession. In the distance are heard sounds of -the mob preceding the condemned.] - -ENRIQUE. (With eyes turned toward the upper street) Is that you, -Oliveira?--Doña Joana? - -OLIVEIRA. The same all of the time. (The distant noises are -approaching.) Here comes that unfortunate woman. - -ENRIQUE. Yes! it is she!--Ah, Oliveira, who could believe, if she had -not confessed it herself, that this exquisite creature is a detestable -magician? - -Oliviera. (In a low voice) Oh! her confessions! (Enrique, surprised, -turns and looks at him.) Don Enrique, you are a man who can rely on -himself. When night comes, I shall leave Toledo for I have much to -fear because I have expressed myself too frankly concerning this poor -woman, who is no more a sorceress than we are magicians, you and me! - -ENRIQUE. (Troubled) Is it possible!--But her confessions, her -confessions? - -OLIVEIRA. They wrung them from her when they promised your freedom, -her sorcery giving you an excuse. - -ENRIQUE. And when she cried to me: "It is false! It is false!"---- - -[The sounds come nearer.] - -OLIVEIRA. She, you see, had condemned herself to the stake! - -ENRIQUE. Oh! brute that I am!--I have not understood! - -OLIVEIRA. (Trying to calm him) Be careful! Enrique. Must I be a -coward!--I could hack myself into pieces! - -OLIVEIRA. (Holding him) In God's name, do nothing foolish! There -remains one more chance for you. - -ENRIQUE. (Quickly) Joana? - -OLIVEIRA. Yes!--Be careful, or they will hear us! - -[At this instant the mob invades the place from all sides. The people -are impatient and unruly and the archers rush in from the upper -street, shouting, and restrain them. The cathedral door opens wide. -Calabazas, Albornos, Ibarra and Molina come out, followed by other -Franciscan and Dominican monks, who group themselves under the portal, -while a funeral march is played on the organ. The bells continue to -toll. Oliveira quickly leaves by one of the streets. Enrique crosses -the scene and disappears in the crowd. The archers have great -difficulty in keeping open a passage for the procession, which slowly -enters from the upper street. The clamors of the mob are redoubled. -Six archers of the Inquisition, dressed in black, lead the cortége, -followed by six Franciscan monks carrying candles and murmuring -prayers. Then appear two lantern-bearers, followed by a porter -carrying a figure of Christ shaded by a small black dais, and Zoraya -with hands tied and dressed in san-benito. Gil Andrès and his two -assistants follow. Behind them come four Franciscan monks carrying -torches. The archers and the monks arrange themselves at the left in -the foreground. The lantern-bearers and the porter carrying the -crucifix stop before the pyre. Zoraya, escorted by Gil Andrès and his -aides, halts in front of the portal. While the procession is marching, -the bells ring, the organ plays and the mob hurls insults at the -condemned woman.] - - -Scene Three - -[The same persons, Zoraya, Calabazas, Albornos, Ibarra, Molina, -afterward Padilla.] - -[At a gesture from Calabazas, Zoraya stops, the bells stop ringing, -the mob becomes quiet. Indistinct organ music is heard.] - -CALABAZAS. (Standing at the head of the steps) Woman, the Inquisition -has delivered you over for punishment to Toledo. Before you are -purified by fire, make a public penance on your knees, torch in hand. -(Torilla unties Zoraya's hand.) And ask pardon for your crimes from -God, from the Church and from the King. - -[Gil Andrès presents the torch to Zoraya.] - -ZORAYA. (Spurning the torch) Ask pardon yourself, priest, for the -crime which you are about to commit. - -[Murmurs from the crowd and the priests.] - -CALABAZAS. (To Gil Andrès) Do your duty! - -[When Gil Andrès and his men attempt to lead Zoraya away Enrique -rushes into the scene. All stop instantly when Padilla, in the church, -cries "Wait!" He enters.] - - -Scene Four - -[The same persons, Padilla, Enrique] - -PADILLA. (Coming quickly out of the church with Enrique) Stop! (The -organ ceases to play. Songs of young girls are heard in the church.) -Is it you, sorceress, who have plunged my daughter into this awful -sleep from which even the prayers of the church cannot rouse her? - -ZORAYA. It is I! (Exclamations from the crowd.) And I alone can bring -her out of it. - -[More exclamations from the crowd.] - -PADILLA. Do it then, demon! - -ZORAYA. Obey you?--No! - -PADILLA. I will force you to do it! - -ZORAYA. You cannot burn me twice! - -PADILLA. Ah! wretch! - -ZORAYA. Like these monks you have had no pity for me! You added to -my tortures by bringing my lover to hear me. Now, I will torture you -by means of your daughter. Invoke these priests, ring your bells, -swing your censers! Chant your canticles! She will awaken only at the -sound of my voice! When my body is burned to ashes, she sleeps her -last sleep. - -[Murmurs of indignation from the crowd. Zoraya makes a movement to go -to the stake.] - -PADILLA. (Descending the steps furiously) Seize her! (The gaolers -move toward her.) No! Wait! (He motions them back.) Wait! (To Zoraya.) -Ah! Wretch, I am at your mercy!--Is it a pardon and freedom that you want? - -ZORAYA. No! life would be only full of sorrow for me! I prefer death, -which will give me an opportunity for revenge! - -ENRIQUE. (Standing between Zoraya and the pyre) No! No! Do not use -her for revenge. And, in exchange for the life, which you will save, -I give you mine--give him his daughter! - -ZORAYA. Ah! poor man, who implores of me a favor for this official--if -you could know---- - -ENRIQUE. (In a low voice) I know all!---- - -ZORAYA. (Looking into his eyes, trembling) Oh! - -ENRIQUE. (Tenderly) All!--And it is for the life of this innocent -girl that I want your own--Zoraya! - -ZORAYA. (Moved by his accent) Ah! that word is enough!--This time I -have recognized your voice!--Very well, if the governor promises to -pardon me. - -PADILLA. Absolutely! - -ZORAYA. On your oath! - -[Mutterings from the crowd.] - -PADILLA. Before God! - -[Louder mutterings.] - -ZORAYA. I am ready! - -ENRIQUE. Come, then! - -[He turns to enter the church. The Inquisitors at the entrance bar his -way.] - -CALABAZAS. The sorceress cannot cross the threshold of the church! - -PADILLA. Very well!--They can bring my child here! - -CALABAZAS AND THE INQUISITORS. Governor---- - -PADILLA. I will be obeyed! - -[He starts for the doorway. Enrique rushes into the church. Calabazas -and the other Inquisitors surround Padilla, while Zoraya removes her -cloak.] - -CALABAZAS. Padilla!--Such a bargain with this woman! - -ALBORNOS. It is a compact with a demon! - -PADILLA. My daughter! I want my daughter! - -MOLINA. Do you want her before going to Hell, yourself? - -PADILLA. If that is the price!--Give her to me! - -IBARRA. There goes the salvation of your soul! - -PADILLA. The salvation of my daughter! - -CALABAZAS. It were better that she should die! - -PADILLA. Ah! priests, you have no children! But the King is a father, -he--he will understand me! - -[Four girls from the convent of Mercy come out of the church followed -by two nuns, Enrique and Fatoum, conducting lackeys wearing Padilla's -livery, who carry a kind of easy chair in which Joana is sleeping -under a mantle of rich material ornamented with white flowers. The -chair is deposited at the foot of the steps. The crowd, murmuring with -interest and curiosity, draws near. Far in the church women are -singing a canticle. Profound silence follows. All the assistants go -forward, stretching their necks to see the women of the first rank. -The nuns, the young girls, and Fatoum and Padilla on their knees, are -under the portal. To the right, at the entrance of the alley, are Aisha -and Zaguir, who witnessed Zoraya's arrival. Zoraya stands on the steps -behind Joana and raises her face to the crowd. They see the young girl -pale as death, her eyes closed. Enrique stands at the left, apart from -the others.] - -ZORAYA. (Putting her fingers on Joana's eyelids, then upon her head) -Joana! Joana! (Joana moves. Zoraya breathes on her forehead.) Awaken! -(With authority.) I want you to!--(Joana moves with effort and opens -her eyes. Murmurs from the assistants.) Arise! - -[With Zoraya's aid Joana raises herself, puts her feet on the ground -and stands. Clamors of admiration from the crowd. Joana looks about -with surprise.] - -JOANA. Where am I? (She sees Zoraya.) The Mooress!--Fatoum!--My -sisters! - -PADILLA. Joana! - -JOANA. My father! - -[She throws herself into his arms. Exclamations from the crowd.] - -THE PEOPLE. A miracle! A miracle! - -CALABAZAS. (Forcibly) Silence, people! (The crowd is intimidated.) No -miracle is performed by Satan! - -PADILLA. (At the head of the steps) Go and thank God! (He places Joana -in the hands of the nuns, who conduct her into the church. He turns to -Zoraya.) Go in peace, Zoraya! And all of you let the Mooress depart. -She is free! (To Ramiro.) Ramiro, see her safely home! - -[He enters the church followed by the Inquisitors. The organs intone -the Te Deum. Enrique, under the portal, exchanges a look of farewell -with Zoraya, who lingers, crossing to the alley. Before her, the crowd -draws back in fright and spreads out at the entrance of the alley to -let her pass. The monks quickly cross the scene and bar her egress. -Zoraya turns to leave by the other street, but other monks quickly -prevent her. All round her is a line of monks.] - -A MONK. Christians! are you going to let this daughter of Hell go -free? - -ALL. No! No! - -[They crowd upon Zoraya, who retreats toward the church. Enrique, who -has seen the movement and heard the words, steps between her and the -monks.] - -ENRIQUE. Out of here, monks!--Make way! - -THE MONKS. No! No! Seize the sorceress! - -THE CROWD. Upon the sorceress! - -[The departing crowd, stopped by the movements of the monks, makes a -threatening circle, which advances upon Enrique and Zoraya, who -retreat toward the portal of the church.] - -ENRIQUE. You cowardly wretches! - -[He draws his sword, which checks them for an instant.] - -A MONK. Palacios! You will not go free a second time! - -ENRIQUE. Ramiro! Arias! My archers, help me! - -[Instead of responding to Enrique's call for assistance, Ramiro, -Arias and the archers join the crowd and shout.] - -ALL. (Encouraged by this move) To the stake! To the stake with the -sorceress! - -ZORAYA. (Taking refuge above the steps of the church, then under the -portal) They will kill you--Save yourself! - -ENRIQUE. (Covering his retreat, sword in hand) Go into the -church!--into the church! - -[Zoraya runs to the closed door, which she shakes in vain.] - -ZORAYA. Open! Open for us! - -[No response is heard except singing and organ music. The mob laughs.] - -THE CROWD. (Howling and drawing nearer) Death!--to the death! - -[Enrique meanwhile, facing his assailants, finds himself on the steps. -Zoraya is behind him.] - -ENRIQUE. Ah! Infamous villains! - -RAMIRO. (Holding back the archers) My lord, we do not want to harm -you, but give us that woman! - -ENRIQUE. No, ruffians! - -THE CROWD. To the death! - -A MAN IN THE CROWD. (To Torillo) Executioner, prepare your pyre. We -shall burn the sorceress in spite of him! - -THE CROWD. Yes! Yes! - -[All turn to look at Torillo and the stake.] - -ZORAYA. (Seeing no one looking at her and Enrique) Here they will -kill both of us--Will you not save yourself? - -ENRIQUE. To me life among such brutes would be horrible! - -ZORAYA. Then a last kiss!--Give me your lips!---- - -[She puts between her teeth the wax pill. Their lips join. Torillo -appears at the pyre, torch in hand, amid shouts of approval from the -crowd, which turns menacingly towards Zoraya and Enrique. Suddenly -Enrique falls and rolls down the steps of the church, causing the mob -to recoil with exclamations of astonishment.] - -RAMIRO. (Seeing Zoraya, who has fallen, on her knees beside Enrique) -To the stake with her! The sorceress still lives! - -[He starts toward her.] - -ZORAYA. (Partly rising) Too late, wild beast! - -[She falls and dies.] - -ALL. To the stake with her body! To the stake! - -(Curtain) - - - - - -End of the Project Gutenberg EBook of The Sorceress, by Victorien Sardou - -*** END OF THIS PROJECT GUTENBERG EBOOK THE SORCERESS *** - -***** This file should be named 54705-0.txt or 54705-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/4/7/0/54705/ - -Produced by David Thomas - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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