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diff --git a/old/54705-h/54705-h.htm b/old/54705-h/54705-h.htm deleted file mode 100644 index 2b8e950..0000000 --- a/old/54705-h/54705-h.htm +++ /dev/null @@ -1,8796 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.1//EN" "http://www.w3.org/TR/xhtml11/DTD/xhtml11.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" version="-//W3C//DTD XHTML 1.1//EN" xml:lang="en"> -<head> - <meta http-equiv="Content-Type" content="text/html; charset=utf-8"/> - <title>The Sorceress, by Victorien Sardou</title> - <link rel="coverpage" href="images/cover.jpg"/> - <style type="text/css"> - - h1,h2,h3 - { text-align:center; } - - h2 /* chapters/acts */ - { font-size:120%; font-weight:bold; margin:3em 0em 1em 0em; page-break-before:always; } - - h2.nobreak /* first act of play */ - { font-size:120%; font-weight:bold; margin:0em 0em 1em 0em; page-break-before:avoid; } - - h3 /* scenes */ - { font-variant:small-caps; font-weight:bold; margin:2em 0em 1em 0em; page-break-before:avoid; } - - div.quoteouter /* for centering an verse/poem */ - {margin:1em 0em 1em 0em; text-align:center;} - - div.quoteinner /* contains text to be centered inside a div.quoteouter */ - { display:inline-block; text-align:left; } - - div.titlepage - { margin:0 10% 0 10%; text-align:center; } - - div.toc /* table of contents/dramatis personae */ - { margin:0 5% 0 5%; } - - p - {margin:0em 0em 0em 0em; text-align:justify; text-indent:1em;} - - p.end /* end of chapters/book */ - {margin:1em 0em 0em 0em; text-align:center; text-indent:0em;} - - p.noindent /* 1st paragraph of chapter/resume interrupted paragraph */ - {text-indent:0em; } - - /* stage directions */ - p.sdintro_c - {margin:0em 0em 1em 0em; text-align:center; text-indent:0em;} - - p.sdintro_p0 - {margin:0em 0em 1em 3em; text-align:justify; text-indent:-3em;} - - p.sdintro_p3 - {margin:0em 0em 1em 4em; text-align:justify; text-indent:-1em;} - - p.sdinfo - {margin:0em 0em 0em 4em; text-align:justify; text-indent:-1em;} - - p.sdright - {margin:0em 0em 0em 0em; text-align:right; text-indent:0em;} - - p.spacer - {margin:1em 0em 1em 0em; text-align:center; text-indent:0em;} - - p.v /* dramatis personae entries */ - { margin:0em 0em 0em 2em; text-indent:-2em;} - - span.f150 /* font size for title */ - { font-size:150%; } - - span.sc - {font-variant:small-caps; } - - span.spk /* speaker */ - {font-variant:small-caps; font-weight:bold;} - - /* poem/song verses */ - span.v0 - { display: block; margin:0em 0em 0em 2em; text-indent:-2em;} - span.v1 - { display: block; margin:0em 0em 0em 3em; text-indent:-2em;} - - ul - { margin:0em 0em 1em 2em; } - -</style> -</head> - -<body> - - -<pre> - -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 - - - - - -</pre> - - -<div class="titlepage"> -<h1> -THE SORCERESS -</h1> - -<i>A Drama in Five Acts</i> -<br/><br/> -<i>BY</i> -<br/> -<i>VICTORIEN SARDOU</i> -<br/><br/> -<i>Authorized Translation from the French by</i> -<br/> -<i>CHARLES A. WEISSERT</i> -<br/> -<i>With an Introduction by the Translator</i> -<br/><br/> -<br/><br/> -BOSTON: RICHARD G. BADGER -<br/> -TORONTO: THE COPP CLARK CO., LIMITED -<br/><br/> -COPYRIGHT, 1917, BY RICHARD G. BADGER -<br/> -All Rights, including those of Presentation, Reserved -<br/><br/> -The Gorham Press, Boston, U.S.A. -<br/> -Printed in the United States of America -</div> - - -<h2> -PREPARER’S NOTES -</h2> - -<p> -This book was originally digitized by Google and is intended for -personal, non-commercial use only. -</p> - -<p> -Alterations from the original text: -</p> -<ul> - <li>Rename Act Four/Scene 8 to “Scene 7”.</li> - <li>Spelling correction: change “Calabazos” to “Calabazas”.</li> -</ul> - - - -<h2> -DEDICATION -</h2> - -<div class="titlepage"> -<i>TO THE MEMORY<br/> -OF<br/> -GEORGE WASHINGTON SOUTH, JR.</i> -</div> - - -<h2> -SARDOU AND HIS WORK -</h2> - -<p class="spacer"> -I -</p> - -<p> -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: -</p> - -<p> -“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 ‘<i>Les Huguenots</i>’ or ‘<i>Le -Prophèté</i>’—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.” -</p> - -<p> -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: -</p> - -<p> -“Ah, my friend, you do not know when you -are well off.” -</p> - -<p> -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. -</p> - -<p> -Of this period of Sardou’s life a writer who -knew him well said: -</p> - -<p> -“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.” -</p> - -<p> -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. -</p> - -<p> -“These were the occasions when I could not afford -sardines and dry bread,” said Sardou, “and I -had to go to bed supperless.” -</p> - -<p> -On April 1, 1854, the manager of the Odéon -Théâtre attempted to produce Sardou’s play <i>Le -Taverne des Étudients</i>, 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: -</p> - -<p> -“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.” -</p> - -<p> -In his seventy-eighth year, at the time when he -received the news of the success of his last play, -<i>L’Affaire des Poisons</i>, 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.” -</p> - -<p class="spacer"> -II -</p> - -<p> -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. -</p> - -<p> -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. -</p> - -<p> -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. -</p> - -<p> -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. -</p> - -<p> -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: -</p> - -<p> -<i>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.</i> -</p> - -<p class="spacer"> -III -</p> - -<p> -Sardou’s marvelous theatrical technique is nowhere -better exemplified than in <i>La Sorcière</i>, 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, <i>La Socrière</i> qualifies exactly as a -tragedy. -</p> - -<p> -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 -<i>La Sorcière</i> 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. -</p> - -<p> -The plot of <i>La Sorcière</i> 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. -</p> - -<p> -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. -</p> - -<p> -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.” -</p> - -<p> -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. -</p> - -<p> -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! -</p> - -<p class="spacer"> -* * * * * * * -</p> - -<p> -The translator has endeavored to follow as closely -as possible <i>La Sorcière</i> as Sardou wrote it, remembering -that Browning said in the introduction to his -translation of the <i>Agememnon</i> of Æschylus: “I -should require him [the translator] to be literal at -every cost save that of absolute violence of our -language.” -</p> - -<p class="sdright"> -<span class="sc">Charles A. Weissert.</span> -</p> - - -<h2> -CHARACTERS. -</h2> - -<div class="toc"> -<p class="v"> -<span class="sc">Cardinal Ximénès</span>, <i>Archbishop of Toledo and Grand Inquisitor.</i> -</p> -<p class="v"> -<span class="sc">Don Enrique de Palacios</span>.</p> -<p class="v"> -<span class="sc">Lopez de Padilla</span>, <i>Governor of Toledo.</i> -</p> -<p class="v"> -<span class="sc">Cardenos</span>, <i>an agent of the Holy-Office.</i> -</p> -<p class="v"> -<span class="sc">Cleofas</span>, <i>physician of the Holy-Office.</i> -</p> -<p class="v"> -<span class="sc">Oliveira</span>, <i>surgeon of the Holy-Office.</i> -</p> -<p class="v"> -<span class="sc">Ramiro</span>, <i>esquire of Palacios.</i> -</p> -<p class="v"> -<span class="sc">Fray Eugenio Calabazas, Fray Teofilo Ibarra, Fray Miguel Molina, -Fray Hernando Albornos</span>, <i>Inquisitors.</i> -</p> -<p class="v"> -<span class="sc">Farez</span>, <i>a Moorish muleteer.</i> -</p> -<p class="v"> -<span class="sc">D’Aguilar</span>, <i>notary, and recorder of the Tribunal.</i> -</p> -<p class="v"> -<span class="sc">Torillo</span>, <i>an executioner.</i> -</p> -<p class="v"> -<span class="sc">Don Antonio, Rioubos, Velasco, Cristobol</span>, <i>Gentlemen.</i> -</p> -<p class="v"> -<span class="sc">A Goatherd.</span> -</p> -<p class="v"> -<span class="sc">Gil Andrès</span>, <i>Guard.</i> -</p> -<p class="v"> -<span class="sc">Ginès.</span> -</p> -<p class="v"> -<span class="sc">A Friar.</span> -</p> -<p class="v"> -<span class="sc">First Peasant.</span> -</p> -<p class="v"> -<span class="sc">Second Peasant.</span> -</p> -<p class="v"> -<span class="sc">Zoraya</span>, <i>a Moorish woman.</i> -</p> -<p class="v"> -<span class="sc">Afrida</span>, <i>an aged peasant woman.</i> -</p> -<p class="v"> -<span class="sc">Manuela</span>, <i>a young peasant woman.</i> -</p> -<p class="v"> -<span class="sc">Fatoum</span>, <i>a converted Moorish woman and governess of Joana.</i> -</p> -<p class="v"> -<span class="sc">Aisha</span>, <i>one of Zoraya’s servants.</i> -</p> -<p class="v"> -<span class="sc">Joana</span>, <i>daughter of Padilla.</i> -</p> -<p class="v"> -<span class="sc">Zaguir</span>, <i>a young boy in Zoraya’s service.</i> -</p> -<p class="v"> -<span class="sc">Doña Rufina</span>. -</p> -<p class="v"> -<span class="sc">Doña Syrena</span>. -</p> -<p class="v"> -<span class="sc">Doña Serafina</span>. -</p> -<p class="v"> -<span class="sc">Doña Fabia</span>. -</p> -<p class="v"> -<span class="sc">A Peasant Woman</span>. -</p> - -<p class="spacer"> -<i>Peasant men and women, archers, people of all -classes, gaolers, monks, etc.</i> -</p> - -<p class="spacer"> -<i>The action takes place in Toledo in 1507.</i> -</p> - -<p class="spacer"> -<br/><br/> -<i>THE SORCERESS<br/> -was presented<br/> -for the first time in the Théâtre Sarah-Bernhardt, in Paris,<br/> -on December 15, 1903</i> -</p> -</div> - - -<h2> -<span class="f150">THE SORCERESS</span> -</h2> - - -<h2 class="nobreak"> -ACT ONE -</h2> - -<p> -<span class="sc">Scene</span>.—<i>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.</i> -</p> - - -<h3> -Scene One -</h3> - -<p class="sdintro_c"> -<span class="sc">Ramiro</span>, <span class="sc">Arias</span>, <span class="sc">Farez</span>, peasant men and women, -three archers -</p> - -<p class="sdinfo"> -<span class="sc">Arias</span> <i>and the</i> <span class="sc">Archers</span> <i>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</i> -<span class="sc">Farez</span>, <i>who is silent all the time.</i> -</p> - -<p> -<span class="spk">Ramiro.</span> Go, march on, there! (<i>To the archers</i>) -Arrest those laggards and keep them for me! -(<i>The peasants protest</i>) Silence, there! You will -explain to the governor in Toledo. -</p> - -<p class="sdinfo"> -<i>The archers again begin to drive before them -the prisoners, who renew their protests and -lamentations.</i> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>In a loud voice at the right behind -the scene</i>) Hold on! Wait! What is that noise? -</p> - -<p class="sdinfo"> -<i>All stop and listen.</i> <span class="sc">Arias</span> <i>goes to the right of -the declivity and looks down.</i> -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>To</i> <span class="sc">Arias</span>) Those shouts! Go and -see who is uttering them. -</p> - -<p> -<span class="spk">Arias.</span> Some cavaliers passing along the road. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Behind the scene</i>) Do you hear me? -Who is there? -</p> - -<p> -<span class="spk">Arias.</span> (<i>To</i> <span class="sc">Ramiro</span>) It is our commander, -Don Enrique Palacios, who is returning home from -the chase. -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>Running to the right</i>) He arrives -opportunely. (<i>Addressing respectfully, hat in hand,</i> -<span class="sc">Enrique</span> <i>behind the scene.</i>) My lord, it is I, your -esquire, Ramiro. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Behind the scene</i>) What are you -doing there? -</p> - -<p> -<span class="spk">Ramiro.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Outside</i>) Very good!—I will -come. (<i>Murmurs of satisfaction from the captives.</i>) -</p> - -<p> -<span class="spk">Ramiro.</span> Here is our general, Don Enrique Palacios, -commander of the archers and cross-bowmen -of the city. He will examine you on the spot. -</p> - -<p> -<span class="spk">The Peasants.</span> (<i>Together, each saying a -phrase</i>) Good!—Good!—He is a good man!—He -will listen to us and set us at liberty! -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>He goes to meet</i> <span class="sc">Enrique</span> <i>at right</i>) -Up this side, my lord, if you please! -</p> - - -<h3> -Scene Two -</h3> - -<p class="sdintro_c"> -Those in the preceding scene, <span class="sc">Enrique</span>, two -valets of the hunt -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Looking at the captives</i>) Oh, ho! -This is a fine catch with one stroke of the hand! -</p> - -<p> -<span class="spk">Ramiro.</span> I was going to conduct these people to -Toledo to be examined. Your Honor may spare -me the pain. -</p> - -<p> -<span class="spk">The Peasants.</span> (<i>All speaking at the same time</i>) -Mercy, Excellency!—Pity!—Pity!—We are innocent!—We -did not do it! -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>Exasperated</i>) Peace! Keep quiet, -there, brawlers! Do not bewilder his lordship with -your croakings! -</p> - -<p> -<span class="spk">Enrique.</span> Be considerate, Ramiro. They have -the right to speak in their own defence. (<i>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</i> <span class="sc">Arias</span>.) What has caused -this disturbance? -</p> - -<p> -<span class="spk">Ramiro.</span> Your lordship has not forgotten a -young Moorish armourer employed on his estate, -named Kalem? -</p> - -<p> -<span class="spk">Enrique.</span> Kalem? Yes! a clever artisan and -also a handsome lad, who worked for me. -</p> - -<p> -<span class="spk">Ramiro.</span> Unfortunately one of those black, obstinate -rebels, who will not admit since the conquest -of Granada by our glorious sire (<i>he uncovers -his head and bows</i>) that the dominion of the Moors -and the cult of their great devil Mohammed have -ended in Spain. -</p> - -<p> -<span class="spk">Enrique.</span> Yes. Whenever I urged Kalem to -become converted he always refused. -</p> - -<p> -<span class="spk">Ramiro.</span> 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! -</p> - -<p> -<span class="spk">Enrique.</span> Ah! the poor boy! -</p> - -<p> -<span class="spk">Ramiro.</span> 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! -</p> - -<p> -<span class="spk">Enrique.</span> When was it removed? -</p> - -<p> -<span class="spk">Ramiro.</span> Last night. -</p> - -<p> -<span class="spk">Enrique.</span> By whom? -</p> - -<p> -<span class="spk">Ramiro.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> And the result? -</p> - -<p> -<span class="spk">Arias.</span> Nothing!—They have nothing to say! -</p> - -<p> -<span class="spk">The Peasants.</span> (<i>All together</i>) We know -nothing, your lordship, nothing! So truly as there -is a God, we are innocent. (<span class="sc">Arias</span> <i>hushes them -with a gesture.</i>) -</p> - -<p> -<span class="spk">Enrique.</span> Is there among them a relative or -friend of Kalem? -</p> - -<p> -<span class="spk">All.</span> Not one, your lordship. -</p> - -<p> -<span class="spk">A Peasant.</span> None, my lord! -</p> - -<p> -<span class="spk">Enrique.</span> No one who would have a reason -for stealing his body? -</p> - -<p> -<span class="spk">All.</span> (<i>All at the same time</i>) Not one, my -lord!—Far from here!—A dog of a Mussulman!—We -are good Christians! -</p> - -<p> -<span class="spk">A Woman.</span> We should have stoned him to death -a second time! (<i>They hear voices outside, at left.</i>) -</p> - -<p> -<span class="spk">Ramiro.</span> Keep quiet, there!—Listen! -</p> - -<p> -<span class="spk">Arias.</span> (<i>Looking</i>) Here is something more to -please us. -</p> - - -<h3> -Scene Three -</h3> - -<p class="sdintro_c"> -The same, the goatherd, an archer. They enter at left -</p> - -<p> -<span class="spk">An Archer.</span> (<i>Dragging the goatherd</i>) Go in! -you beggar! -</p> - -<p> -<span class="spk">The Goatherd.</span> (<i>Obeying</i>) Lord! have mercy! -</p> - -<p> -<span class="spk">The Archer.</span> (<i>To</i> <span class="sc">Arias</span>, <i>out of breath</i>) He -attempted to flee, the fool! He ran faster than his -goats. -</p> - -<p> -<span class="spk">Enrique.</span> Is he a goatherd? -</p> - -<p> -<span class="spk">The Archer.</span> So he says. -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>Taking the goatherd by the collar and -compelling him to fall upon his knees before</i> <span class="sc">Enrique</span>) -Answer, villain, Don Enrique Palacios! -</p> - -<p> -<span class="spk">Enrique.</span> It is you, then, who stole the body? -</p> - -<p> -<span class="spk">The Goatherd.</span> Me! my Sweet Deliverer!—touch -a corpse! -</p> - -<p> -<span class="spk">Enrique.</span> Then why did you run? -</p> - -<p> -<span class="spk">The Goatherd.</span> (<i>Lowering his voice</i>) For -not speaking—and for fear she would revenge herself -upon me for exposing her! -</p> - -<p> -<span class="spk">Enrique.</span> And who—is she? -</p> - -<p> -<span class="spk">The Goatherd.</span> (<i>Looking nervously about</i>) -She who took the body. -</p> - -<p> -<span class="spk">Enrique.</span> A woman? -</p> - -<p> -<span class="spk">The Goatherd.</span> (<i>Half aloud</i>) The Moorish -woman! -</p> - -<p> -<span class="spk">The Others.</span> (<i>Seconding him</i>) The Sorceress!—Yes!—Yes!—It -was she!—It was she! -</p> - -<p> -<span class="spk">Enrique.</span> The Sorceress? -</p> - -<p> -<span class="spk">The Goatherd.</span> 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!” -</p> - -<p> -<span class="spk">Enrique.</span> Then she is the guilty one? -</p> - -<p> -<span class="spk">The Peasants.</span> (<i>Eagerly</i>) It is she, your lordship; -it is the Sorceress, without a doubt. -</p> - -<p> -<span class="spk">Enrique.</span> And who among you believe she is -a sorceress? -</p> - -<p> -<span class="spk">The Peasants.</span> Oh, all! -</p> - -<p> -<span class="spk">First Man.</span> It is believed everywhere. -</p> - -<p> -<span class="spk">A Woman.</span> She has caused enough misfortune -with her deviltries! -</p> - -<p> -<span class="spk">Second Man.</span> It has been proved that words -from her will give rot to the sheep. -</p> - -<p> -<span class="spk">A Peasant.</span> And sickness to men. (<i>Murmurs -of approbation.</i>) -</p> - -<p> -<span class="spk">The Woman.</span> Listen to the testimony of the -wife of Zuniga, a wet-nurse, whose milk supply she -caused to go dry. -</p> - -<p> -<span class="spk">First Man.</span> And to José Barilla on whose barn -she caused lightning to descend. -</p> - -<p> -<span class="spk">The Woman.</span> Oh! the wicked she-goat! -</p> - -<p> -<span class="spk">Another Woman.</span> She is the plague of this -community! -</p> - -<p> -<span class="spk">Second Man.</span> Arrest her, my lord!—It is she -who stole the body! -</p> - -<p> -<span class="spk">The Goatherd.</span> To make magic powders of -the bones! -</p> - -<p> -<span class="spk">All.</span> Yes! Yes! -</p> - -<p> -<span class="spk">The Goatherd.</span> (<i>To</i> <span class="sc">Farez</span>, <i>who shrugs his -shoulders</i>) It is well for you to shrug your shoulders, -you! -</p> - -<p> -<span class="spk">Farez.</span> (<i>Coldly</i>) Me? -</p> - -<p> -<span class="spk">The Goatherd.</span> Yes. You who act so cunningly. -</p> - -<p> -<span class="spk">The Woman.</span> Yes. He laughs at all we say. -</p> - -<p> -<span class="spk">Farez.</span> At all of your stupidities! (<i>All protest</i>) -</p> - -<p> -<span class="spk">Enrique.</span> Come forward. Pay no attention to -them. What is your name? -</p> - -<p> -<span class="spk">Farez.</span> Farez. -</p> - -<p> -<span class="spk">Enrique.</span> A Moor? -</p> - -<p> -<span class="spk">The Goatherd.</span> (<i>Maliciously</i>) But converted. -</p> - -<p> -<span class="spk">Enrique.</span> What is your trade? -</p> - -<p> -<span class="spk">Farez.</span> Muleteer. -</p> - -<p> -<span class="spk">Enrique.</span> Then, according to your opinion, these -people are wrong? -</p> - -<p> -<span class="spk">Farez.</span> This is all idle talk, my lord—the ravings -of old women. (<i>Cries from the peasants, whom</i> -<span class="sc">Ramiro</span> <i>silences.</i>) -</p> - -<p> -<span class="spk">Enrique.</span> Do you know this Moorish woman? -</p> - -<p> -<span class="spk">Farez.</span> Zoraya? -</p> - -<p> -<span class="spk">Enrique.</span> Is her name Zoraya? -</p> - -<p> -<span class="spk">Farez.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> Maiden, woman or widow—this Zoraya? -</p> - -<p> -<span class="spk">Farez.</span> Widow, my lord!—Sometime before the -siege she was married to a very valiant Moor, who -was killed in a sortie. -</p> - -<p> -<span class="spk">Enrique.</span> Being now a Granadan, does she reside -in Toledo? -</p> - -<p> -<span class="spk">Farez.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> Does she reside in Toledo? -</p> - -<p> -<span class="spk">Farez.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> Ah! She likewise practises healing? -</p> - -<p> -<span class="spk">Farez.</span> 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. (<i>Addressing the peasants</i>) 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. -(<i>The peasants protest.</i>) -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Silencing them</i>) That is enough! -(<i>To</i> <span class="sc">Ramiro</span>) Keep the muleteer. Release the -others. (<i>Exclamations of joy.</i>) -</p> - -<p> -<span class="spk">The Peasants.</span> Ah, thanks! your lordship! -God will reward you! Long live His Excellency! -</p> - -<p> -<span class="spk">Arias.</span> (<i>Pushing them along</i>) Go! Go! Disperse -without noise! (<i>They leave from both sides -of the scene.</i>) -</p> - - -<h3> -Scene Four -</h3> - -<p class="sdintro_c"> -<span class="sc">Enrique</span>, <span class="sc">Ramiro</span>, <span class="sc">Arias</span>, <span class="sc">Farez</span>, later <span class="sc">Zoraya</span> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>To</i> <span class="sc">Farez</span>, <i>rising</i>) You say that -she resides near here? -</p> - -<p> -<span class="spk">Farez.</span> (<i>Pointing to the left, below</i>) On this -hillside—a white house, half way up the slope, with -beautiful gardens and a terrace mirrored in the waters -of the Tagus. -</p> - -<p> -<span class="spk">Enrique.</span> You may conduct me there. (<i>To the -archers and valets</i>) Go! (<i>They go out.</i>) -</p> - -<p> -<span class="spk">Farez.</span> If Your Grace will follow me—But -she is not far—There she is! -</p> - -<p> -<span class="spk">Enrique.</span> The Moorish woman? -</p> - -<p> -<span class="spk">Farez.</span> It is she herself—I see her coming up -the slope. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>To</i> <span class="sc">Farez</span>) You may return -home. (<i>To</i> <span class="sc">Ramiro</span> <i>and</i> <span class="sc">Arias</span>) You, here, step -to one side and keep quiet. And observe her practicing -her black art. -</p> - -<p class="sdinfo"> -<span class="sc">Farez</span> <i>disappears at right,</i> <span class="sc">Enrique</span> <i>and</i> <span class="sc">Arias</span> -<i>going to the left, where, screened by rocks -and bushes from</i> <span class="sc">Zoraya’s</span> <i>view, they watch -her.</i> <span class="sc">Zoraya</span> <i>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.</i> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>To</i> <span class="sc">Ramiro</span> <i>behind him</i>) That is -a strange task! -</p> - -<p> -<span class="spk">Arias.</span> (<i>Behind</i> <span class="sc">Enrique</span> <i>and</i> <span class="sc">Ramiro</span>, <i>rising to -see</i>) See, my lord, in her hand? -</p> - -<p> -<span class="spk">Enrique.</span> (<i>In a low voice</i>) That silver sickle? -</p> - -<p> -<span class="spk">Arias.</span> Which shines like the crescent moon. -</p> - -<p> -<span class="spk">Ramiro.</span> The crescent of Mohammed—the moon -is a Saracen and a sorceress! -</p> - -<p> -<span class="spk">Enrique.</span> Speak lower!—What curious harvest -brings her into the midst of these rocks? -</p> - -<p> -<span class="spk">Ramiro.</span> She is gathering bad herbs for her -philters and poisons. -</p> - -<p> -<span class="spk">Enrique.</span> A beautiful creature, truly. See the -grace and suppleness in her movements. -</p> - -<p> -<span class="spk">Ramiro.</span> One might say as much of a serpent. -</p> - -<p> -<span class="spk">Enrique.</span> For shame! -</p> - -<p> -<span class="spk">Ramiro.</span> Your Honor should be careful or this -she-devil may throw over him the same charm that -Circe of yore threw over Ulysses. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Joking</i>) Am I like the goatherd -to believe that she will change me into a beast? -</p> - -<p> -<span class="spk">Ramiro.</span> No! But through love—it is the -same! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Quickly</i>) Enough!—I must speak -to her! (<i>He advances into the full moonlight.</i>) -Zoraya! -</p> - -<p> -<span class="spk">Zoraya.</span> Who is calling me? -</p> - -<p> -<span class="spk">Enrique.</span> I, Enrique Palacios, commander of -the archers of the city. -</p> - -<p> -<span class="spk">Zoraya.</span> What does his lordship desire? -</p> - -<p> -<span class="spk">Enrique.</span> The truth!—It was you and two accomplices -who took down and carried away Kalem’s -body? -</p> - -<p> -<span class="spk">Zoraya.</span> It was, my lord. -</p> - -<p> -<span class="spk">Enrique.</span> For use in some conjurations—for -you are a magician, it appears? -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Quickly</i>) Me? -</p> - -<p> -<span class="spk">Enrique.</span> So it is said. -</p> - -<p> -<span class="spk">Zoraya.</span> By those who hate me because I am -Moorish and faithful to the law of the Koran. -(<i>Murmurs from</i> <span class="sc">Arias</span> <i>and</i> <span class="sc">Ramiro</span>.) -</p> - -<p> -<span class="spk">Enrique.</span> Peace, there. (<i>To</i> <span class="sc">Zoraya</span>) So you -have not come here to work some magic in the moonlight, -or to meet an accomplice in your sorceries? -</p> - -<p> -<span class="spk">Zoraya.</span> I come to gather herbs in the night and -to be alone; and in moonlight because it is easier to -recognize them. -</p> - -<p> -<span class="spk">Enrique.</span> What do you do with them? -</p> - -<p> -<span class="spk">Zoraya.</span> From the hearts of these flowers, my -lord, I extract essences and perfumes for myself and -ointments, elixirs and powders for curing diseases. -</p> - -<p> -<span class="spk">Enrique.</span> Are these remedies, these poisonous -herbs? -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> Oh! by that I understand that you -deal in love philters. -</p> - -<p> -<span class="spk">Zoraya.</span> What need of them, my dear lord?—Love -is born of a smile, rather than of a philter. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Jesting</i>) Do you often make that -test? -</p> - -<p> -<span class="spk">Zoraya.</span> Never! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>The same</i>) Oh!—so chaste—in -spite of those eyes, there? -</p> - -<p> -<span class="spk">Zoraya.</span> Through pride! It is not necessary to -search for dignity in me! -</p> - -<p> -<span class="spk">Enrique.</span> 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? -</p> - -<p> -<span class="spk">Zoraya.</span> The human flesh is not made to feed -ravens and wolves. -</p> - -<p> -<span class="spk">Enrique.</span> You have buried it? -</p> - -<p> -<span class="spk">Zoraya.</span> In a crevice in the rocks—you may assure -yourself. -</p> - -<p> -<span class="spk">Enrique.</span> A criminal. -</p> - -<p> -<span class="spk">Zoraya.</span> To me he was not a criminal, whose -only crime was to have loved. -</p> - -<p> -<span class="spk">Enrique.</span> A Christian!—in spite of the law -which forbids love between your race and mine. -</p> - -<p> -<span class="spk">Zoraya.</span> It is love, however, which will reconcile -them in the long run. -</p> - -<p> -<span class="spk">Enrique.</span> Ah, well! to justify that you shall -explain to His Eminence the Cardinal Ximénès. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Frightened</i>) The Inquisitor! -</p> - -<p> -<span class="spk">Enrique.</span> It is to him that I must take you. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>The same</i>) Oh, no, my dear lord! -No! You must not say that. -</p> - -<p> -<span class="spk">Enrique.</span> Why not? -</p> - -<p> -<span class="spk">Zoraya.</span> You know that the high priest detests -us and persecutes us. You do not want to injure -me; for you are good—— -</p> - -<p> -<span class="spk">Enrique.</span> How do you know that? -</p> - -<p> -<span class="spk">Zoraya.</span> Oh, I see it! -</p> - -<p> -<span class="spk">Enrique.</span> In truth, what indications do you -see? -</p> - -<p> -<span class="spk">Zoraya.</span> Those which my father revealed to me. -</p> - -<p> -<span class="spk">Enrique.</span> Of the nature of men? -</p> - -<p> -<span class="spk">Zoraya.</span> And their destinies. -</p> - -<p> -<span class="spk">Enrique.</span> Do you read this in the stars? -</p> - -<p> -<span class="spk">Zoraya.</span> My knowledge does not come from -them.—But through the crystal, the mirror, the silver -disc and the lines of the hands. -</p> - -<p> -<span class="spk">Enrique.</span> Ah! By God!—I am curious to see -what you read in mine!—Come here! -</p> - -<p> -(<i>He seats himself on a large stone at the foot of -the path,</i> <span class="sc">Zoraya</span> <i>goes down to him after putting -down her bouquet of flowers and plants.</i>) -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>Low to</i> <span class="sc">Arias</span> <i>during this part of the -scene</i>) Ah! the bewitcher!—See how she takes him -little by little into her coils in order to escape punishment. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Stands near</i> <span class="sc">Enrique</span>, <i>who holds out -his left hand for her inspection</i>) You are loyal, my -lord, and brave—but your will is feeble and unsteady. -</p> - -<p> -<span class="spk">Enrique.</span> Where do you see that? -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Smiling</i>) It is true! (<i>To</i> <span class="sc">Ramiro</span>, -<i>without turning round</i>) Is it not, Ramiro? -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>Grumbling in a low voice</i>) Rain of -Heaven! Why has he not strangled this accursed -woman? -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>In the same vein</i>) The life-line, beautiful -at the beginning—stops short—danger of death—struck -as with lightning! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Gaily</i>) A soldier’s death—so much -the better! Seat yourself; you will be more at ease. -(<i>He makes room for her to sit on the stone.</i>) -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Seating herself, continues in the same -vein</i>) These wrinkles which cross at the base of the -thumb show an inclination very—very amorous! -</p> - -<p> -<span class="spk">Enrique.</span> Oh! as to that—Yes! -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p> -<span class="spk">Enrique.</span> Then it is to be returned? -</p> - -<p> -<span class="spk">Zoraya.</span> I do not know—why should one be -troubled about that? -</p> - -<p class="sdinfo"> -<i>While looking at his hand,</i> <span class="sc">Zoraya</span> <i>leans more -and more against</i> <span class="sc">Enrique</span>, <i>who is intoxicated -by the nearness of their persons, by the -Arabian perfume on her hair and by the -warmth of her hand.</i> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Rising in order to lean over</i> <span class="sc">Zoraya’s</span> -<i>neck</i>) What flower have you robbed of this -perfume? -</p> - -<p> -<span class="spk">Zoraya.</span> The golden cassie! -</p> - -<p> -<span class="spk">Enrique.</span> It is exquisite!—You who read the -future so well in the hand—(<i>She attempts to withdraw -her hand</i>) No! No! Do not take away your -hand!—do you also know how to read the present -in my thoughts? (<i>He turns</i> <span class="sc">Zoraya’s</span> <i>face gently -towards his own.</i>) -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Returning his ardent gaze</i>) Yes! (<i>In -a low voice</i>) You think that I am beautiful and desirable! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Quickly</i>) Yes. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>The same</i>) But I am a Saracen, a pagan, -an outcast! I am one whom you have not the -right to love! -</p> - -<p> -<span class="spk">Enrique.</span> Therefore, you are more desirable! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>The same</i>) 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? -</p> - -<p> -<span class="spk">Enrique.</span> Too severe—certainly! -</p> - -<p> -<span class="spk">Zoraya.</span> Wasn’t Kalem excusable for risking -such a cruel fate? -</p> - -<p> -<span class="spk">Enrique.</span> Yes. -</p> - -<p> -<span class="spk">Zoraya.</span> And doesn’t she, this unfortunate girl -who had not the strength to resist the madness of a -similar love, deserve pity? -</p> - -<p> -<span class="spk">Enrique.</span> The Christian girl! -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p> -<span class="spk">Enrique.</span> You could be so brave as she? -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Rising</i>) 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!—— -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Taking her in his arms</i>) I shall be -that man! (<i>She pushes him gently away. He recovers -his presence of mind and quickly withdraws</i>) -Ah! demon! You have intoxicated me! Go away -from me! -</p> - -<p> -<span class="spk">Zoraya.</span> Adieu, then, my dear lord. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Turning</i>) Adieu!—Yes, adieu!—It -is better so! (<i>To</i> <span class="sc">Ramiro</span> <i>and</i> <span class="sc">Arias</span>) Let that -woman go! (<i>Picking up her flowers, she slowly -reascends the slope</i>) What creature is that!—her -hand burned in mine and her gaze set my brain -awhirl! -</p> - -<p> -<span class="spk">Ramiro.</span> I have a remedy, my lord! Say a pater -quickly and repeat an ave twice to break the -charm! -</p> - -<p> -<span class="spk">Arias.</span> (<i>Preparing to shoot an arrow from his -cross-bow at</i> <span class="sc">Zoraya</span>) I have a better one!—Kill -the beast, kill—— -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Seizing his arm</i>) Ah! brute!—Stop! -(<i>He passes the cross-bow to</i> <span class="sc">Ramiro</span>, <i>then crosses -the scene to the right to</i> <span class="sc">Zoraya</span>, <i>who has returned -on hearing the disturbance</i>) Go! Go! He will not -make another attempt. But, I want never again -to find you in my path! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Standing in the middle of the path</i>) -“No one,” says an Arabic proverb,—“no one in -the world today has seen the dawn of tomorrow.” -</p> - -<p> -<span class="spk">Enrique.</span> (<i>To his men, who have rejoined him -at right, while he still watches</i> <span class="sc">Zoraya</span>) Let us -hasten away from here! -</p> - -<p class="end"> -(<i>Curtain</i>) -</p> - - -<h2> -ACT TWO -</h2> - -<p> -<span class="sc">Scene</span>—<i>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</i> <span class="sc">Zoraya’s</span> -<i>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.</i> -</p> - - -<h3> -Scene One -</h3> - -<p class="sdintro_c"> -<span class="sc">Aisha</span>, <span class="sc">Zaguir</span> -</p> - -<p class="sdintro_p3"> -<span class="sc">Aisha</span> <i>draws open the curtains in the right -arch.</i> <span class="sc">Zaguir</span> <i>appears at the foot in the -garden and cautiously calls</i> <span class="sc">Aisha</span>. -</p> - -<p> -<span class="spk">Zaguir.</span> My aunt!—My aunt! -</p> - -<p> -<span class="spk">Aisha.</span> (<i>In an undertone, turning</i>) What?—Who?—Who -is calling me out there? -</p> - -<p> -<span class="spk">Zaguir.</span> (<i>In the same voice</i>) I have something -important to tell you while the mistress is still here. -</p> - -<p> -<span class="spk">Aisha.</span> Something serious? -</p> - -<p> -<span class="spk">Zaguir.</span> Yes. -</p> - -<p> -<span class="spk">Aisha.</span> Then come in and speak quickly. (<span class="sc">Zaguir</span> -<i>goes toward her</i>) What is it? -</p> - -<p> -<span class="spk">Zaguir.</span> 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. -</p> - -<p> -<span class="spk">Aisha.</span> (<i>Disturbed</i>) The same!—you are positive? -</p> - -<p> -<span class="spk">Zaguir.</span> Positive!—They are still there. You -can see them. (<i>They cautiously go to the terrace -at right</i>) Stop! they are standing at present. -</p> - -<p> -<span class="spk">Aisha.</span> There are three of them! -</p> - -<p> -<span class="spk">Zaguir.</span> Yes!—the one with the grizzled beard -was not there. He has just arrived. -</p> - -<p> -<span class="spk">Aisha.</span> Be careful in returning. (<i>She returns -to the center of the scene.</i>) -</p> - -<p> -<span class="spk">Zaguir.</span> (<i>The same</i>) As they have been there -since last evening, it must be that they are lying in -wait for some one. -</p> - -<p> -<span class="spk">Aisha.</span> And whom? -</p> - -<p> -<span class="spk">Zaguir.</span> (<i>With embarrassment</i>) Perhaps those -who come at night and return at dawn. -</p> - -<p> -<span class="spk">Aisha.</span> (<i>Severely</i>) What did you say? -</p> - -<p> -<span class="spk">Zaguir.</span> (<i>Quickly</i>) Don’t be angry—I am only -warning you! Otherwise, I should have said nothing. -</p> - -<p> -<span class="spk">Aisha.</span> And what do you know, naughty boy? -</p> - -<p> -<span class="spk">Zaguir.</span> 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. -</p> - -<p> -<span class="spk">Aisha.</span> Above all you have not mentioned this? -</p> - -<p> -<span class="spk">Zaguir.</span> Indeed to no person!—it is serious! -</p> - -<p> -<span class="spk">Aisha.</span> He is a Moor, a refugee in the Sierra, -a rebel who comes secretly to obtain medicine for -his wife who is ill. -</p> - -<p> -<span class="spk">Zaguir.</span> Poor woman!—to consume all the remedies -which he has obtained every night during two -months! -</p> - -<p> -<span class="spk">Aisha.</span> You presumptuous boy! -</p> - -<p> -<span class="spk">Zaguir.</span> 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! -</p> - -<p> -<span class="spk">Aisha.</span> Allah protect me! I shall not tell her -that you know. -</p> - -<p> -<span class="spk">Zaguir.</span> As you wish! But whisper to her that -they are watching her house. (<i>The bells again begin -to ring.</i>) -</p> - -<p> -<span class="spk">Aisha.</span> And in vain for two days. -</p> - -<p> -<span class="spk">Zaguir.</span> Yes, fortunately!—He did not come -last night, or the night before. -</p> - -<p> -<span class="spk">Aisha.</span> And Zoraya is worried enough!—Go, -thou!—Quickly!—I hear her! -</p> - -<p class="sdinfo"> -<span class="sc">Zaguir</span> <i>is going out when</i> <span class="sc">Zoraya</span> <i>appears, -parting the portières at the left.</i> -</p> - - -<h3> -Scene Two -</h3> - -<p class="sdintro_c"> -The same persons, <span class="sc">Zoraya</span> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Without seeing</i> <span class="sc">Zaguir</span>, <i>to</i> <span class="sc">Aisha</span>) -Who is here with you? -</p> - -<p> -<span class="spk">Aisha.</span> Zaguir, who has no right to be here!—but -he has a good excuse—since yesterday he has -seen men prowling round the house. (<i>She points to -the right,</i> <span class="sc">Zoraya</span> <i>crosses the scene and goes to -the window.</i>) -</p> - -<p> -<span class="spk">Zaguir.</span> They have passed the night under the -fig trees. -</p> - -<p> -<span class="spk">Aisha.</span> (<i>To</i> <span class="sc">Zoraya</span>) On the hillside—look! -Ah! They are going away—do you see them? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes!—They are going down to the -bridge. (<i>To</i> <span class="sc">Zaguir</span>) Follow them! -</p> - -<p> -<span class="spk">Zaguir.</span> As far as the city? -</p> - -<p> -<span class="spk">Zoraya.</span> All about the city—and see where they -stop. -</p> - -<p> -<span class="spk">Zaguir.</span> Yes, mistress! -</p> - -<p> -<span class="spk">Zoraya.</span> Go! Go! -</p> - -<p class="sdinfo"> -<span class="sc">Zaguir</span> <i>leaves, running.</i> -</p> - - -<h3> -Scene Three -</h3> - -<p class="sdintro_c"> -<span class="sc">Zoraya</span>, <span class="sc">Aisha</span> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>At the window, constantly looking -out</i>) Why are those bells ringing on this beautiful -morning?—Is there some Christian festival today? -</p> - -<p> -<span class="spk">Aisha.</span> I know of none. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Reëntering the scene</i>) 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. -</p> - -<p> -<span class="spk">Aisha.</span> We must continue hoping that Don Enrique -will come tonight. -</p> - -<p> -<span class="spk">Zoraya.</span> Two nights without seeing him!—And -no word from him—what torture! And those bad -dreams! Give me the spotted cards. -</p> - -<p class="sdinfo"> -<span class="sc">Aisha</span> <i>brings a pack of cards which she lays -out on the little table. The sound of the -bells gradually dies out.</i> -</p> - -<p> -<span class="spk">Aisha.</span> He has probably been warned of the -presence of those men. -</p> - -<p> -<span class="spk">Zoraya.</span> Last night, yes—But the night before—did -Zaguir see them then? -</p> - -<p> -<span class="spk">Aisha.</span> No. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Constantly occupied in arranging the -cards</i>) Then it was something else. -</p> - -<p> -<span class="spk">Aisha.</span> Perhaps some sudden duty? -</p> - -<p> -<span class="spk">Zoraya.</span> Doubtful! He is free! He has no -father, no mother, no wife, no children! -</p> - -<p> -<span class="spk">Aisha.</span> He commands the archers, the blunderbuss -men and the cross-bowmen of the city. He -may be detained by the service. -</p> - -<p> -<span class="spk">Zoraya.</span> For two days? -</p> - -<p> -<span class="spk">Aisha.</span> He is a member of the Council of Castile, -which may have been summoned to Aranjuez -where the king is sojourning. -</p> - -<p> -<span class="spk">Zoraya.</span> Yes, possibly that is so!—Ah! if only -we had some means of secretly writing to each other! -</p> - -<p> -<span class="spk">Aisha.</span> Allah protect us! That would be a -quicker way of losing ourselves!—we are threatened -often enough, now! -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! (<i>She raises a card.</i>) -</p> - -<p> -<span class="spk">Aisha.</span> What? -</p> - -<p> -<span class="spk">Zoraya.</span> The Cavalier of the Sword—now I am -beginning to detect the cause! -</p> - -<p> -<span class="spk">Aisha.</span> 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! -</p> - -<p> -<span class="spk">Zoraya.</span> “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! -</p> - -<p> -<span class="spk">Aisha.</span> Oh! my daughter, you who were so -chaste in your widowhood, why are you enamored -with this infidel, this enemy of the true God? -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p> -<span class="spk">Aisha.</span> Rain of Heaven! -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Aisha.</span> Alas! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Returning to the cards</i>) Ah! “The -King!”—A powerful enemy! -</p> - -<p> -<span class="spk">Aisha.</span> You see! You see! -</p> - -<p> -<span class="spk">Zoraya.</span> Sh——. -</p> - -<p> -<span class="spk">Aisha.</span> What? -</p> - -<p> -<span class="spk">Zoraya.</span> I believe I hear him. -</p> - -<p> -<span class="spk">Aisha.</span> No! -</p> - -<p> -<span class="spk">Zoraya.</span> Besides, he would not come before -night! -</p> - -<p> -<span class="spk">Aisha.</span> Ah! I hope he will not come this evening—and -never again! -</p> - -<p> -<span class="spk">Zoraya.</span> Silence! You wretch! Do you want -me to die of sorrow? -</p> - -<p> -<span class="spk">Aisha.</span> That would be better than being buried -alive in an oubliette as poor Kalem’s accomplice and -for a crime similar to his! -</p> - -<p> -<span class="spk">Zoraya.</span> I should die first! -</p> - -<p> -<span class="spk">Aisha.</span> 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! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Rising and putting away the cards</i>) -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! -</p> - -<p> -<span class="spk">Aisha.</span> (<i>Groaning</i>) Ah! -</p> - -<p> -<span class="spk">Zoraya.</span> Be silent! This time it is his step. -(<i>She runs to the door at the left and opens it</i>) It is -he!—Ah! it is he!—It is he! -</p> - -<p class="sdinfo"> -<span class="sc">Enrique</span> <i>appears on the threshold of the little -door.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> Finally—Ah! God!—At last! at last! -(<i>To</i> <span class="sc">Aisha</span> <i>as she passes</i> <span class="sc">Enrique</span> <i>to fasten the little -door</i>) Watch carefully. (<i>After fastening the -draperies,</i> <span class="sc">Aisha</span> <i>goes into the garden.</i>) -</p> - - -<h3> -Scene Four -</h3> - -<p class="sdintro_c"> -<span class="sc">Zoraya</span>, <span class="sc">Enrique</span> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>To</i> <span class="sc">Enrique</span>) Your heart beats!—You -have been running? -</p> - -<p> -<span class="spk">Enrique.</span> Yes! -</p> - -<p> -<span class="spk">Zoraya.</span> They have pursued you? -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Removing his mantle</i>) No! -</p> - -<p> -<span class="spk">Zoraya.</span> And on the road, did you see no one? -</p> - -<p> -<span class="spk">Enrique.</span> Not one person! (<i>He places on the -stool his mantle, his hat and his sword.</i>) I did not -come by way of the bridge, but by the path up the -hillside after crossing the river in a boat. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Seated on the cushions</i>) In daylight! -What imprudence! And instead of coming last -night when I waited so anxiously for you! -</p> - -<p> -<span class="spk">Enrique.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> He followed you?—You are certain? -</p> - -<p> -<span class="spk">Enrique.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Yes! (<i>Rising</i>) Oh! it is clear now! It -is well for you that they watched only at night. -</p> - -<p> -<span class="spk">Enrique.</span> And why? -</p> - -<p> -<span class="spk">Zoraya.</span> The men watched there behind those -fig trees. (<i>He goes toward the terrace.</i>) No!—they -have gone away, thinking it useless to watch for -you in the daytime. -</p> - -<p> -<span class="spk">Enrique.</span> How many? -</p> - -<p> -<span class="spk">Zoraya.</span> Three. One of them seemed to be the -chief. -</p> - -<p> -<span class="spk">Enrique.</span> Did he have a small, grizzly beard? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Eagerly</i>) It was he who spied upon -me. I believe I recognize him! (<i>Seats himself -at right on the fountain basin.</i>) It is Cardenos, one -of my father’s old soldiers, but now an agent of the -Holy Office and a religious bigot! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>At his right, standing</i>) Then! he -has recognized you! -</p> - -<p> -<span class="spk">Enrique.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Oh, yes! -</p> - -<p> -<span class="spk">Enrique.</span> And for the sake of prudence give up -seeing each other. -</p> - -<p> -<span class="spk">Zoraya.</span> For several days—surely. -</p> - -<p> -<span class="spk">Enrique.</span> Say—some weeks. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Protesting</i>) Several weeks? -</p> - -<p> -<span class="spk">Enrique.</span> It is the only way to stop them from -spying upon us. -</p> - -<p> -<span class="spk">Zoraya.</span> Several weeks!—without seeing each -other? -</p> - -<p> -<span class="spk">Enrique.</span> My Zoraya, you must resign yourself -to it. -</p> - -<p> -<span class="spk">Zoraya.</span> 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!” (<span class="sc">Enrique</span> <i>makes a quick -movement.</i>) Ah! perhaps that is what you wish to -say and dare not tell me! -</p> - -<p> -<span class="spk">Enrique.</span> I! -</p> - -<p> -<span class="spk">Zoraya.</span> If you fear those men?—If you wish to -see me no more? -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Protesting</i>) You believe me cowardly!—When -I have risked myself in plain day to see -you for an instant! -</p> - -<p> -<span class="spk">Zoraya.</span> That is true!—But you seem so preoccupied, -so troubled— -</p> - -<p> -<span class="spk">Enrique.</span> Like yourself—by this danger. -</p> - -<p> -<span class="spk">Zoraya.</span> 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! (<i>She turns</i> <span class="sc">Enrique’s</span> <i>face toward -her.</i>) Your gaze seems to tell me that your love -has been stolen from me! -</p> - -<p> -<span class="spk">Enrique.</span> 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!” -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> And why did you so fervently desire -me to love you? -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Passing</i> <span class="sc">Enrique</span>, <i>to the left</i>) First, -because of cowardice, my dear lord!—to extort from -you my pardon—and later on, if I conquered you, to -flee from Toledo! -</p> - -<p> -<span class="spk">Enrique.</span> Ingrate! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Sitting</i>) It is bold of me to tell you -now—and next—for bravado, malice and revenge! -</p> - -<p> -<span class="spk">Enrique.</span> Revenge? -</p> - -<p> -<span class="spk">Zoraya.</span> 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 (<i>she points to the book on the -table</i>), “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! -(<i>Sounds of the distant bells.</i> <span class="sc">Enrique</span> <i>starts.</i> -<span class="sc">Zoraya</span> <i>does not move.</i>) What disturbs you? -</p> - -<p> -<span class="spk">Enrique.</span> Those bells! -</p> - -<p> -<span class="spk">Zoraya.</span> Well, they are ringing. What is that -to us? -</p> - -<p> -<span class="spk">Enrique.</span> It means that they are calling me -and that it is time for us to part. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Rising</i>) So soon? What for? You -may remain here until the hour of the siesta when -the streets are deserted. -</p> - -<p> -<span class="spk">Enrique.</span> Oh, no! That is impossible! (<i>He -rises.</i>) -</p> - -<p> -<span class="spk">Zoraya.</span> Impossible! -</p> - -<p> -<span class="spk">Enrique.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> By boat? -</p> - -<p> -<span class="spk">Enrique.</span> Yes. (<i>He takes up his hat, mantle -and sword.</i>) -</p> - -<p> -<span class="spk">Zoraya.</span> And if they should watch for you on -the other side of the river? -</p> - -<p> -<span class="spk">Enrique.</span> Do not dream of that!—Fear nothing! -</p> - -<p> -<span class="spk">Zoraya.</span> Oh! I fear everything just now, those -men—and for you! -</p> - -<p> -<span class="spk">Enrique.</span> For me? -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p> -<span class="spk">Enrique.</span> What folly!—A dream! -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p> -<span class="spk">Enrique.</span> Oh! -</p> - -<p> -<span class="spk">Zoraya.</span> For another! -</p> - -<p> -<span class="spk">Enrique.</span> Hush! Hush! -</p> - -<p> -<span class="spk">Zoraya.</span> 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? -</p> - -<p> -<span class="spk">Enrique.</span> God knows when! So soon as we can -without danger. -</p> - -<p> -<span class="spk">Zoraya.</span> Here? -</p> - -<p> -<span class="spk">Enrique.</span> Oh, no! -</p> - -<p> -<span class="spk">Zoraya.</span> Where then? -</p> - -<p> -<span class="spk">Enrique.</span> I shall advise you. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>In his arms</i>) And how shall I know? -</p> - -<p> -<span class="spk">Enrique.</span> That will be arranged!—And, until -I come, my dear love, believe nothing, do you hear!—nothing, -only in my love for you! (<i>The bells -begin to ring again.</i>) -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! those bells which always take you -from my arms! -</p> - -<p> -<span class="spk">Enrique.</span> I hope to see you soon! -</p> - -<p> -<span class="spk">Zoraya.</span> Watch carefully during your return -to the city. -</p> - -<p> -<span class="spk">Enrique.</span> Yes, yes! -</p> - -<p class="sdinfo"> -<i>She gazes at him until he disappears through the -doorway.</i> -</p> - - -<h3> -Scene Five -</h3> - -<p class="sdintro_p3"> -<span class="sc">Aisha</span> <i>opens the curtains in the left arch. Seeing -that</i> <span class="sc">Zoraya</span> <i>is alone, she descends into -the scene.</i> -</p> - -<p> -<span class="spk">Aisha.</span> He is gone? -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Going back to the right</i>) Yes, and let -us hope safely. He will not return until many days -have passed. -</p> - -<p> -<span class="spk">Aisha.</span> I have turned away the poor men who -came at their usual hour seeking aid from you. -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! I am in a fine state of mind to -console others! -</p> - -<p> -<span class="spk">Aisha.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Alas! And there is no remedy! -</p> - -<p> -<span class="spk">Aisha.</span> 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. -(<i>The bells stop ringing.</i>) -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p> -<span class="spk">Aisha.</span> Saada will return tomorrow. -</p> - -<p> -<span class="spk">Zoraya.</span> 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? -</p> - -<p> -<span class="spk">Aisha.</span> (<i>With hesitation</i>) 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Do I know her? -</p> - -<p> -<span class="spk">Aisha.</span> (<i>The same</i>) She is an old friend of your -mother’s—Fatoum. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Quickly</i>) That wretched woman who -was converted! I will not see her! -</p> - -<p> -<span class="spk">Aisha.</span> She assures me she has been faithful to -the Prophet’s law. -</p> - -<p> -<span class="spk">Zoraya.</span> Well, what does she want? -</p> - -<p> -<span class="spk">Aisha.</span> She is accompanied by a young girl in -a litter. -</p> - -<p> -<span class="spk">Zoraya.</span> Ill? -</p> - -<p> -<span class="spk">Aisha.</span> Probably. -</p> - -<p> -<span class="spk">Zoraya.</span> Let Fatoum alone enter. -</p> - - -<h3> -Scene Six -</h3> - -<p class="sdintro_c"> -<span class="sc">Zoraya</span>, <span class="sc">Aisha</span>, <span class="sc">Fatoum</span> -</p> - -<p class="sdintro_p3"> -<span class="sc">Aisha</span> <i>raises the portière at the left to admit</i> -<span class="sc">Fatoum</span>, <i>an old Moorish woman, who has -been converted.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> Come forward! -</p> - -<p> -<span class="spk">Fatoum.</span> (<i>She goes to</i> <span class="sc">Zoraya</span>, <i>who is seated, -kneels and kisses the hem of her skirt</i>) May Allah -be merciful to you and rain his gifts upon you! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Severely</i>) Dare you pronounce His -sacred name, you who have renounced the God of -your fathers! Take care that He does not hear -you! -</p> - -<p> -<span class="spk">Fatoum.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Your daughter? -</p> - -<p> -<span class="spk">Fatoum.</span> By birth, no, Zoraya; by affection, -ah! certainly, yes! She was ten years old when her -mother died, and I have reared her. -</p> - -<p> -<span class="spk">Zoraya.</span> A Spaniard? -</p> - -<p> -<span class="spk">Fatoum.</span> Yes! You alone can heal her. -</p> - -<p> -<span class="spk">Zoraya.</span> That is a case for the Christian physicians. -</p> - -<p> -<span class="spk">Fatoum.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Well, who is she? -</p> - -<p> -<span class="spk">Fatoum.</span> She consented to come only when I -promised not to reveal her name. -</p> - -<p> -<span class="spk">Zoraya.</span> Then she may go! -</p> - -<p> -<span class="spk">Fatoum.</span> 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! -</p> - -<p> -<span class="spk">Zoraya.</span> She need not know that you have betrayed -it. -</p> - -<p> -<span class="spk">Fatoum.</span> If you promise me—— -</p> - -<p> -<span class="spk">Zoraya.</span> Yes, I promise!—Who is she? -</p> - -<p> -<span class="spk">Fatoum.</span> Doña Joana, daughter of the Governor -of Toledo! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Quickly rising</i>) That madman who is -hunting our refugees in the Sierra and killing them -without pity! -</p> - -<p> -<span class="spk">Fatoum.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! those bells! -</p> - -<p> -<span class="spk">Fatoum.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> The convent of Mercy!—In it is confined -the poor creature who loved Kalem, whom -they stoned to death. -</p> - -<p> -<span class="spk">Fatoum.</span> I do not know. -</p> - -<p> -<span class="spk">Zoraya.</span> I, myself, know it—and I shall tell -Joana my price for healing her—Let her enter! -</p> - -<p class="sdinfo"> -<span class="sc">Aisha</span> <i>and</i> <span class="sc">Fatoum</span> <i>go out and return, bringing -in</i> <span class="sc">Joana</span>. -</p> - - -<h3> -Scene Seven -</h3> - -<p class="sdintro_c"> -The same persons and <span class="sc">Doña Joana</span> -</p> - -<p class="sdinfo"> -<span class="sc">Joana</span> <i>enters, timid, frightened and supported -in</i> <span class="sc">Fatoum’s</span> <i>arms.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Kindly</i>) Do you not fear, señorita, to -come into a pagan’s home? -</p> - -<p> -<span class="spk">Joana.</span> Fatoum has told me that you are charitable. -That is the law of the Gospel! -</p> - -<p> -<span class="spk">Zoraya.</span> And also that of the Koran—In that -our religions are the same!—Seat yourself, my -daughter (<i>she sits upon the cushions at her side</i>)—and -tell me your trouble. -</p> - -<p> -<span class="spk">Joana.</span> (<i>Timidly</i>) Permit Fatoum to tell it instead -of me. -</p> - -<p> -<span class="spk">Fatoum.</span> (<i>Seated on a stool which</i> <span class="sc">Aisha</span> <i>has -placed in the left of the scene</i>) 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. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Taking</i> <span class="sc">Joana’s</span> <i>hand, which relaxes</i>) -And she remembers nothing of it? -</p> - -<p> -<span class="spk">Joana.</span> Oh, nothing! -</p> - -<p> -<span class="spk">Fatoum.</span> This also happened in the convent. -</p> - -<p> -<span class="spk">Zoraya.</span> No, no! I prefer to have her tell me -about it, herself. -</p> - -<p> -<span class="spk">Joana.</span> 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! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Leaning towards her</i>) 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? -</p> - -<p> -<span class="spk">Joana.</span> (<i>Feeling gradually the suggestions to -sleep</i>) 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!—— -</p> - -<p> -<span class="spk">Zoraya.</span> And is all beautiful in this delicious -slumber into which you are falling? -</p> - -<p> -<span class="spk">Joana.</span> (<i>Sleepily</i>) Yes!—Yes, beautiful! -</p> - -<p> -<span class="spk">Zoraya.</span> As this? (<i>She closes</i> <span class="sc">Joana’s</span> <i>eyes.</i>) -</p> - -<p> -<span class="spk">Joana.</span> Yes!—I see—I—I—— -</p> - -<p> -<span class="spk">Zoraya.</span> Sleep! I want you to! -</p> - -<p class="sdinfo"> -<span class="sc">Joana</span> <i>falls asleep with her head resting on</i> -<span class="sc">Zoraya’s</span> <i>shoulder.</i> -</p> - -<p> -<span class="spk">Fatoum.</span> (<i>In a low voice</i>) Is she asleep? -</p> - -<p> -<span class="spk">Zoraya.</span> It is a sleep like that in which she -walks at night. -</p> - -<p> -<span class="spk">Fatoum.</span> Joana!—Señorita!—My child! -</p> - -<p class="sdright"> -<span class="sc">Joana</span> <i>does not move.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> She does not hear your voice!—Does -she also speak of taking the veil? -</p> - -<p> -<span class="spk">Fatoum.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Does she object to the marriage, or to -the man who is to be her husband? (<i>Calling</i>) -Joana! (<span class="sc">Joana</span> <i>moves.</i> <span class="sc">Zoraya</span> <i>continues.</i>) Answer!—Do -you feel tenderly for him whom you are -to marry? -</p> - -<p> -<span class="spk">Joana.</span> (<i>Feebly</i>) I do not love him. -</p> - -<p> -<span class="spk">Zoraya.</span> Then, it is a feeling of aversion? -</p> - -<p> -<span class="spk">Joana.</span> No! (<i>Sadly</i>) I do not want to marry!—I -want to be a nun. -</p> - -<p> -<span class="spk">Fatoum.</span> 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! -</p> - -<p> -<span class="spk">Zoraya.</span> Perhaps marriage would cure this -malady. -</p> - -<p> -<span class="spk">Fatoum.</span> Oh! I implore you, Zoraya, to heal -her yourself, at once—— -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Fatoum.</span> Is it possible?—It is magic! -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Fatoum.</span> Not yet, I pray you!—Your will is so -powerful. Can you not give her some protection -against this disease tonight? -</p> - -<p> -<span class="spk">Zoraya.</span> I can attempt it with great hope of -success. -</p> - -<p> -<span class="spk">Fatoum.</span> Oh! do it, Zoraya!—Do it! I shall -forever bless you! -</p> - -<p> -<span class="spk">Zoraya.</span> Joana! I tell you not to have the -least fear that your trouble will return tonight. I -have protected you. Do you understand? -</p> - -<p> -<span class="spk">Joana.</span> (<i>Feebly</i>) Yes!—Yes! -</p> - -<p> -<span class="spk">Fatoum.</span> May Allah reward you! -</p> - -<p> -<span class="spk">Zoraya.</span> I tell you to awaken. -</p> - -<p class="sdinfo"> -<i>She draws</i> <span class="sc">Joana</span> <i>to her, leans over her shoulder, -places her hand on the top of her head, -breathes on her eyes and opens her eyelids.</i> -<span class="sc">Joana</span> <i>sighs, rouses herself, awakens and -looks astonished.</i> -</p> - -<p> -<span class="spk">Joana.</span> (<i>Sadly</i>) Ah! you see!—I have slept -again. -</p> - -<p> -<span class="spk">Zoraya.</span> No, señorita, no!—It is I who made -you sleep. -</p> - -<p> -<span class="spk">Joana.</span> You can do that! -</p> - -<p> -<span class="spk">Zoraya.</span> And can also cure you. -</p> - -<p> -<span class="spk">Joana.</span> (<i>Quickly</i>) God has guided you! -</p> - -<p> -<span class="spk">Zoraya.</span> Be assured, your malady will not trouble -you tonight. (<i>Signs of joy from</i> <span class="sc">Joana</span>. <span class="sc">Zoraya</span> -<i>continues.</i>) All service, of course, is worthy -of reward. Therefore, I put a price on your -healing. -</p> - -<p> -<span class="spk">Joana.</span> Ah! I promise to pay in advance. -</p> - -<p> -<span class="spk">Zoraya.</span> You are going to the convent of -Mercy? -</p> - -<p> -<span class="spk">Joana.</span> Yes, to ask for the blessing of the Holy -Abbess. -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Joana.</span> Yes, poor girl, I know—but her -crime—— -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Joana.</span> I shall request this as a favor. -</p> - -<p> -<span class="spk">Zoraya.</span> You swear that you will? -</p> - -<p> -<span class="spk">Joana.</span> Before God! -</p> - -<p class="sdright"> -<i>The distant bells again ring.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Without rising</i>) Those are your marriage -bells, dear child. (<span class="sc">Aisha</span> <i>assists</i> <span class="sc">Joana</span> <i>to rise</i>) -I hope that you will have good health, a happy and -contented love and that your youth will be decked -with flowers. -</p> - -<p class="sdinfo"> -<span class="sc">Joana</span> <i>leaves with</i> <span class="sc">Aisha</span>, <i>while</i> <span class="sc">Fatoum</span> <i>stops -to kiss</i> <span class="sc">Zoraya’s</span> <i>hand.</i> -</p> - -<p> -<span class="spk">Fatoum.</span> Allah’s benediction upon you! -</p> - -<p class="sdright"> -<span class="sc">Fatoum</span> <i>goes out with</i> <span class="sc">Joana</span>. -</p> - - -<h3> -Scene Eight -</h3> - -<p class="sdintro_c"> -<span class="sc">Zoraya</span>, <span class="sc">Aisha</span>, <span class="sc">Zaguir</span> -</p> - -<p class="sdintro_p3"> -<i>At the instant that</i> <span class="sc">Fatoum</span> <i>and</i> <span class="sc">Joana</span> <i>disappear -in the garden,</i> <span class="sc">Zaguir</span> <i>appears on the -threshold of the little door.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> You followed those men? -</p> - -<p> -<span class="spk">Zaguir.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Yes, I know—the marriage. -</p> - -<p> -<span class="spk">Zaguir.</span> Of the Governor’s daughter and Don -Enrique Palacios! -</p> - -<p class="sdright"> -<span class="sc">Zoraya</span> <i>stifles a heartrending cry.</i> -</p> - -<p> -<span class="spk">Aisha.</span> (<i>Running to</i> <span class="sc">Zoraya</span>) Ah! unhappy -child! (<span class="sc">Zoraya</span> <i>clings fast to her, bewildered, -swaying, choking. She finally falls on the cushions -between</i> <span class="sc">Aisha</span> <i>and</i> <span class="sc">Zaguir</span>, <i>who rush to aid her.</i>) -My Zoraya!—My poor Zoraya! -</p> - -<p class="end"> -(<i>Curtain</i>) -</p> - - -<h2> -ACT THREE -</h2> - -<p> -<span class="sc">Scene</span>—<i>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.</i> -</p> - -<p><i> -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. -</i></p> - - -<h3> -Scene One -</h3> - -<p class="sdintro_p0"> -<span class="sc">Cardenos</span>, <span class="sc">Ramiro</span>, <span class="sc">Doña Rufina</span>, <span class="sc">Doña Serafina</span>, -<span class="sc">Doña Syrena</span>, <span class="sc">Doña Fabia</span>, <span class="sc">Velasco</span>, <span class="sc">Don Ambrosio</span>, -<span class="sc">Rioubos</span>, <span class="sc">Cristobol,</span> <i>Cavaliers, Women, -etc.</i> -</p> - -<p class="sdintro_p3"> -<span class="sc">Ambrosio</span>, <span class="sc">Syrena</span>, <span class="sc">Serafina</span>, <span class="sc">Fabia,</span> <i>are seated -in the foreground.</i> <span class="sc">Cristobol</span> <i>and</i> <span class="sc">Rioubos</span> -<i>are outside.</i> -</p> - -<p> -<span class="spk">Doña Fabia.</span> Ah! here is Doña Rufina. -</p> - -<p class="sdinfo"> -<span class="sc">Doña Rufina</span> <i>enters with</i> <span class="sc">Ramiro</span> <i>into the -foreground. Salutations.</i> -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>To</i> <span class="sc">Doña Rufina</span>) Then, Señora, -you were not at the cathedral? -</p> - -<p> -<span class="spk">Doña Rufina.</span> (<i>Seating herself in a chair -which</i> <span class="sc">Ramiro</span> <i>places at the left</i>) No!—I have just -arrived from Aranjuez, bringing the Queen’s gift -to the bride—a very costly girdle-buckle. -</p> - -<p> -<span class="spk">Cristobol.</span> It was a beautiful ceremony, Señora. -</p> - -<p> -<span class="spk">Rioubos.</span> His Eminence Cardinal Ximénès himself -pronounced the nuptial blessing. -</p> - -<p> -<span class="spk">Doña Syrena.</span> Naturally! Doña Joana is his -god-daughter. -</p> - -<p> -<span class="spk">Doña Rufina.</span> The city seems to me very gay. -</p> - -<p> -<span class="spk">Doña Fabia.</span> Compared with it ordinarily. -</p> - -<p> -<span class="spk">Ramiro.</span> Yes, all day they have had on the -Plaza del Zocodover entertainments by jugglers, buffoons, -dancers and monstrous African monkeys! -</p> - -<p> -<span class="spk">Don Ambrosio.</span> (<i>An old cavalier sitting in an -arm-chair</i>) Yes, at this moment there is singing and -dancing in all the public places. -</p> - -<p> -<span class="spk">Doña Syrena.</span> Among us, this marriage was a -long time postponed. -</p> - -<p> -<span class="spk">Doña Fabia.</span> Yes—they were betrothed five -years. -</p> - -<p> -<span class="spk">Ramiro.</span> 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! -</p> - -<p> -<span class="spk">Doña Rufina.</span> They say she became so devout -they believed she would never come out. -</p> - -<p> -<span class="spk">Doña Syrena.</span> She did not have a radiant air -in the church—the bride! -</p> - -<p> -<span class="spk">Rioubos.</span> No more than did Enrique. -</p> - -<p> -<span class="spk">Cristobol.</span> There was one radiant person—the -Governor! -</p> - -<p> -<span class="spk">Velasco.</span> (<i>Unexpectedly</i>) Undoubtedly because -his daughter did not take the veil! -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>To</i> <span class="sc">Velasco</span>) What! are you here, -Velasco?—I believed you were in Alpujarras, chasing -the Moors. -</p> - -<p> -<span class="spk">Velasco.</span> (<i>Bowing to the women</i>) I was, in a -way; but I have returned for this fête. -</p> - -<p> -<span class="spk">Don Ambrosio.</span> Have they not yet taught these -rebels to be reasonable? -</p> - -<p> -<span class="spk">Velasco.</span> They have retreated into inaccessible -places where it is impossible to follow them. -</p> - -<p> -<span class="spk">Don Ambrosio.</span> They are chasing these pagans -too long. -</p> - -<p> -<span class="spk">Ramiro.</span> Not now, Don Ambrosio. His Eminence -and the Governor are after them with the -hand of death. -</p> - -<p> -<span class="spk">Don Ambrosio.</span> Then, Ramiro, you will see the -advantages of severe treatment. Within six months -thousands of Moors will be converted. -</p> - -<p class="sdright"> -<i>Murmurs of satisfaction. The music ceases.</i> -</p> - -<p> -<span class="spk">Cardenos.</span> That is a mere farce, my Lord Ambrosio! -(<i>Gravely</i>) 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. (<i>Murmurs of -indignation</i>) 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! -</p> - -<p> -<span class="spk">Doña Rufina.</span> 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. -</p> - -<p> -<span class="spk">Doña Syrena.</span> 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. -</p> - -<p> -<span class="spk">Rioubos.</span> 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. -</p> - -<p> -<span class="spk">Doña Syrena.</span> (<i>Quickly</i>) Oh! but that is all -the more excusable. -</p> - -<p class="sdright"> -<i>Laughter and exclamations.</i> -</p> - -<p> -<span class="spk">Doña Rufina.</span> (<i>Quickly</i>) Ah, my dear, what -did you say then? -</p> - -<p> -<span class="spk">Doña Syrena.</span> (<i>A little confused by her blunder</i>) -You see!—Yes!—The circumstances are very -different. -</p> - -<p class="sdright"> -<i>The same sounds of laughter.</i> -</p> - -<p> -<span class="spk">Ramiro.</span> Ah! see, I beg of you, Señora—see the -difference! -</p> - -<p> -<span class="spk">Doña Syrena.</span> What!—If the intrigue has results, -is it not so? -</p> - -<p> -<span class="spk">All.</span> Yes! -</p> - -<p> -<span class="spk">Ramiro.</span> A child! -</p> - -<p> -<span class="spk">Doña Syrena.</span> 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! -</p> - -<p> -<span class="spk">All.</span> (<i>Laughing in approval</i>) Oh! very good! -Very ingenious! Charming! -</p> - -<p class="sdinfo"> -<i>Three trumpet calls are sounded in the banquet -room.</i> -</p> - -<p> -<span class="spk">Doña Rufina.</span> The banquet is ended. (<i>She -rises.</i>) -</p> - -<p> -<span class="spk">Doña Syrena.</span> They are going to drink to the -healths of the newly married ones! -</p> - -<p class="sdinfo"> -<i>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.</i> <span class="sc">Fatoum</span> <i>appears on the -pavement, while valets distribute flowers -among the assistants.</i> -</p> - - -<h3> -Scene Two -</h3> - -<p class="sdintro_c"> -The same, <span class="sc">Fatoum</span> and <span class="sc">Zoraya</span> -</p> - -<p class="sdinfo"> -<span class="sc">Zoraya</span>, <i>veiled, cautiously enters unnoticed -from the street and goes to the middle of the -foreground. While getting her bearings, she -sees</i> <span class="sc">Fatoum</span> <i>on the landing-place and goes -toward her, raising her veil.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> Fatoum! -</p> - -<p> -<span class="spk">Fatoum.</span> Ah! Zoraya! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Imposing silence with a gesture</i>) Yes!—I -concluded that results would be surer if I repeated -the mesmeric treatment which I gave Joana -this morning. -</p> - -<p> -<span class="spk">Fatoum.</span> 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! -</p> - -<p class="sdinfo"> -<i>She points to the landing-place of the right -stairway and leads her to it.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! it is there? -</p> - -<p> -<span class="spk">Fatoum.</span> Yes, where the windows are lighted. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Looking about</i>) And he!—Where is -he? -</p> - -<p> -<span class="spk">Fatoum.</span> He? -</p> - -<p> -<span class="spk">Zoraya.</span> The husband! -</p> - -<p> -<span class="spk">Fatoum.</span> In the large chamber waiting for the -poor child to be put to bed. -</p> - -<p class="sdinfo"> -<span class="sc">Zoraya</span> <i>stops on the stairway an instant to -turn towards the banquet hall, then follows</i> -<span class="sc">Fatoum</span>. -</p> - - -<h3> -Scene Three -</h3> - -<p class="sdintro_p3"> -The same without <span class="sc">Zoraya</span> and <span class="sc">Fatoum</span>. -Afterward <span class="sc">Doña Joana</span> and her women, -<span class="sc">Cleofas</span> -</p> - -<p class="sdinfo"> -<i>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.</i> <span class="sc">Doña Joana</span> -<i>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.</i> -</p> - -<p> -<span class="spk">Doña Syrena.</span> Joy and health, Señora! -</p> - -<p> -<span class="spk">Doña Rufina.</span> Be happy, Doña Joana! -</p> - -<p> -<span class="spk">Doña Serafina.</span> Everlasting happiness, Señora! -</p> - -<p> -<span class="spk">The Cavaliers.</span> Our best wishes, Señora! -</p> - -<p class="sdinfo"> -<span class="sc">Doña Joana</span> <i>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.</i> <span class="sc">Fatoum</span> <i>is waiting for her. -The music stops when they enter.</i> -</p> - -<p> -<span class="spk">Doña Fabia.</span> (<i>At the left with</i> <span class="sc">Doña Rufina</span> -<i>and</i> <span class="sc">Doña Syrena</span>, <i>after</i> <span class="sc">Joana</span> <i>disappears</i>) -She is pale, the dear! -</p> - -<p> -<span class="spk">Doña Rufina.</span> (<i>Giggling</i>) With emotion! -</p> - -<p> -<span class="spk">Doña Syrena.</span> They create such false ideas -about a moment like that! -</p> - -<p> -<span class="spk">Doña Rufina.</span> And exaggerate them so! -</p> - -<p class="sdinfo"> -<i>They group themselves, seated, near the right -column. After the procession has passed,</i> -<span class="sc">Cleofas</span> <i>descends at the right, talking with</i> -<span class="sc">Ramiro</span> <i>and</i> <span class="sc">Cristobol</span>. <i>The guests disperse -in the patio, sitting or standing. There -is a murmur of confused voices.</i> -</p> - -<p> -<span class="spk">Cleofas.</span> Whew!—it is warm in that chamber! -</p> - -<p> -<span class="spk">Doña Syrena.</span> (<i>To</i> <span class="sc">Doña Fabia</span> <i>in a low -voice</i>) Especially after they have emptied all the -flagons! -</p> - -<p> -<span class="spk">Doña Rufina.</span> (<i>To</i> <span class="sc">Cleofas</span>) Cleofas would -have done well had he given the bride some comforting -elixir. -</p> - -<p> -<span class="spk">Cleofas.</span> (<i>Gaily</i>) Oh, yes! Those nuns have -pictured marriage to her as something horrible! -</p> - -<p> -<span class="spk">Doña Rufina.</span> The poor little child has had -no one to give her a mother’s care. -</p> - -<p> -<span class="spk">Ramiro.</span> Oh, yes!—there is Fatoum, the convert, -who has brought her up. -</p> - -<p> -<span class="spk">Don Ambrosio.</span> 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. -</p> - -<p> -<span class="spk">Cleofas.</span> (<i>With satisfaction</i>) 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. -</p> - -<p class="sdright"> -<i>Murmurs of satisfaction.</i> -</p> - -<p> -<span class="spk">Doña Syrena.</span> Of heretics? -</p> - -<p> -<span class="spk">Cleofas.</span> Of heretics. Moors, Jews, renegades -and backsliders—a sample of each. -</p> - -<p> -<span class="spk">Doña Rufina.</span> And of sorcerers? -</p> - -<p> -<span class="spk">Cleofas.</span> Of sorcerers and sorceresses, also—but -fewer in number than is desirable. -</p> - -<p> -<span class="spk">Cardenos.</span> (<i>To</i> <span class="sc">Cleofas</span> <i>in a low voice</i>) -Master Cleofas, I should like to say two words to -you in that regard. -</p> - -<p> -<span class="spk">Cleofas.</span> At Your Grace’s disposition! -</p> - -<p class="sdinfo"> -<i>He goes to the left of the scene, followed by</i> -<span class="sc">Cristobol</span>, <span class="sc">Rioubos</span> <i>and</i> <span class="sc">Ramiro</span>, <i>who surround -him.</i> -</p> - -<p> -<span class="spk">Cardenos.</span> You have not forgotten an Arabian -physician named Abou-Abassa? -</p> - -<p> -<span class="spk">Cleofas.</span> 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. -</p> - -<p> -<span class="spk">Cardenos.</span> Zoraya! -</p> - -<p> -<span class="spk">Cleofas.</span> 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. -</p> - -<p> -<span class="spk">Cardenos.</span> Then you are sure that man -was—— -</p> - -<p> -<span class="spk">Cleofas.</span> A necromancer! And worse than -that! Listen and judge, friend Cardenos! (<i>He -seats himself</i>) 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? -</p> - -<p> -<span class="spk">Cardenos and the Young Men.</span> Yes! -</p> - -<p> -<span class="spk">Cleofas.</span> 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! -</p> - -<p> -<span class="spk">All.</span> Oh! -</p> - -<p> -<span class="spk">Cleofas.</span> 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! -</p> - -<p> -<span class="spk">Cardenos.</span> It is the same evidence. -</p> - -<p> -<span class="spk">Cleofas.</span> 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? -</p> - -<p> -<span class="spk">Cardenos.</span> The surgeon? -</p> - -<p> -<span class="spk">Cleofas.</span> 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! -</p> - -<p class="sdright"> -<i>He rises.</i> -</p> - -<p> -<span class="spk">Cardenos.</span> Assuredly! -</p> - -<p> -<span class="spk">Cleofas.</span> 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. -</p> - -<p> -<span class="spk">Cardenos.</span> What is your reason? -</p> - -<p> -<span class="spk">Cleofas.</span> Oh! nothing—He smells of it and I -advise you to watch him—I said then—where was -I? -</p> - -<p> -<span class="spk">Cardenos.</span> You spoke of Pétronille. -</p> - -<p> -<span class="spk">Cleofas.</span> 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! -</p> - -<p> -<span class="spk">Cardenos.</span> Certainly!—if it is magic—— -</p> - -<p> -<span class="spk">Cleofas.</span> 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. -</p> - -<p> -<span class="spk">Cardenos.</span> Your Honor may be reassured—they -have an eye on her. -</p> - -<p class="sdinfo"> -<i>An agent of the Inquisition, dressed in black, -enters from the street.</i> -</p> - -<p> -<span class="spk">The Agent.</span> (<i>Going to them</i>) Lord Cardenos, -His Eminence prays you to come without delay, -for urgent business. -</p> - -<p> -<span class="spk">Cardenos.</span> I shall come at once!—This, Master -Cleofas, may have something to do with your -Mooress. -</p> - -<p> -<span class="spk">Cleofas.</span> Good! Good! -</p> - -<p class="sdinfo"> -<span class="sc">Cardenos</span> <i>and the man go into the street. -They play a saraband in the banquet hall.</i> -</p> - - -<h3> -Scene Four -</h3> - -<p class="sdintro_c"> -The same, <span class="sc">Don Enrique</span>, <span class="sc">Lopez de Padilla</span>, -guests, men and women, etc. -</p> - -<p class="sdinfo"> -<span class="sc">Don Enrique</span>, <i>accompanied by</i> <span class="sc">Lopez de Padilla</span> -<i>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.</i> -</p> - -<p> -<span class="spk">Doña Rufina</span>, <span class="spk">Doña Fabia</span> and <span class="spk">Doña Syrena</span>. -(<i>To</i> <span class="sc">Enrique</span>, <i>laughing and making courtesies</i>) -Good night, my lord. -</p> - -<p class="sdinfo"> -<i>He conducts them to the door opening on the -street. Returning, he finds</i> <span class="sc">Padilla</span> <i>and -some friends. Meanwhile the servants put -out the lanterns and the patio is lighted only -by the moon.</i> -</p> - -<p> -<span class="spk">Padilla.</span> (<i>Surrounded by the men, to</i> <span class="sc">Enrique</span>) -The only thing which marred this feast, -Don Enrique, was the absence of your father, whom -we needed. -</p> - -<p> -<span class="spk">Enrique.</span> It was the fulfillment of his dearest -wish and I thank Your Excellency. -</p> - -<p> -<span class="spk">Padilla.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> And to you, my lord (<i>he kisses his -hand</i>) a most respectful son. -</p> - -<p> -<span class="spk">Padilla.</span> (<i>To the others</i>) Then, gentlemen, it -is time for such graybeards as we to leave this impatient -youth.—Until tomorrow, my child! -</p> - -<p> -<span class="spk">Enrique.</span> Until tomorrow, my father! -</p> - -<p class="sdinfo"> -<i>While the valets are closing the street door on -the last departing guests,</i> <span class="sc">Padilla</span> <i>and the -other gentlemen go towards the left door, -accompanied to the threshold by</i> <span class="sc">Enrique</span>. -<span class="sc">Joana’s</span> <i>women attendants descend the stairway, -cross the patio and leave by the door at -the right. They meet</i> <span class="sc">Enrique</span> <i>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,</i> <span class="sc">Zoraya</span> -<i>comes out of the vestibule, stops on the landing-place -to assure herself that the patio is -vacant and motionless awaits</i> <span class="sc">Enrique</span>. -</p> - - -<h3> -Scene Five -</h3> - -<p class="sdintro_c"> -<span class="sc">Zoraya</span>, <span class="sc">Enrique</span> -</p> - -<p class="sdinfo"> -<i>This scene follows the last sounds of laughter, -conversation and music.</i> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Stopping at the foot of the stairway -on seeing</i> <span class="sc">Zoraya</span> <i>veiled</i>) Who are you, woman, -and why do you not leave with the others? -(<span class="sc">Zoraya</span> <i>is silent.</i>) Do you not hear me?—Who -are you? -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Raising her veil</i>) I am the sorrow -and you are the traitor! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Recoiling</i>) Zoraya! -</p> - -<p> -<span class="spk">Zoraya.</span> You have forgotten, have you not, to -invite me to this feast? -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Looking about uneasily</i>) You! here—in -this house! -</p> - -<p> -<span class="spk">Zoraya.</span> In your wife’s home, yes. -</p> - -<p> -<span class="spk">Enrique.</span> To tell her—— -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Sorrowfully</i>) 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! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Uneasily</i>) Lower! Speak lower! -I beg of you! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Without listening</i>) You are not so -innocent as you were on the steps of the church—— -</p> - -<p> -<span class="spk">Enrique.</span> You were there! -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> Do not condemn me without hearing -me! -</p> - -<p> -<span class="spk">Zoraya.</span> Oh, God!—you, you, who this morning—Oh, -God! God! Is it possible? -</p> - -<p class="sdinfo"> -<i>She falls seated at the foot of the column.</i> -</p> - -<p> -<span class="spk">Enrique.</span> My Zoraya, my mistake, mine alone -for not telling you the first day—— -</p> - -<p> -<span class="spk">Zoraya.</span> Do you love this girl? -</p> - -<p> -<span class="spk">Enrique.</span> Ah! certainly, no!—I was forced—— -</p> - -<p> -<span class="spk">Zoraya.</span> You betrayed me for her? -</p> - -<p> -<span class="spk">Enrique.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> Yes! All of your duties are sacred -except those towards me!—and you hope, do you -not, that I have considered them as fulfilled? -</p> - -<p> -<span class="spk">Enrique.</span> Yes! -</p> - -<p> -<span class="spk">Zoraya.</span> That I shall receive your return to -me with open arms? -</p> - -<p> -<span class="spk">Enrique.</span> That you will pardon me, at least, -and join me in returning faithfully to our love. -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Seating himself near her</i>) But I -do not love this child!—I do not love her! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Rising, going to the left</i>) 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! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Standing</i>) My dear Zoraya! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Quickly, restraining her tears</i>) Oh, -leave me! Wretch! Leave me! I hate you! -</p> - -<p class="sdinfo"> -<i>She leans sobbing against a pillar at the left.</i> -</p> - -<p> -<span class="spk">Enrique.</span> Lower! Speak lower!—I beg of -you!—If they should hear us! -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p class="sdinfo"> -<i>They hear the night watchman’s halbert striking -the pavement stones.</i> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Frightened and pointing to the -street</i>) Be quiet!—There is some one there! -</p> - -<p> -<span class="spk">The Watchman.</span> (<i>Outside, passing the door -and chanting</i>) Ave, Maria!—— -</p> - -<p> -<span class="spk">Enrique.</span> (<i>In a low voice</i>) It is the watchman. -</p> - -<p> -<span class="spk">The Watchman.</span> It is the sixth hour!—I am -the watchman! -</p> - -<p class="sdright"> -<i>He passes.</i> -</p> - -<p> -<span class="spk">Enrique.</span> He has passed! (<i>He goes to the -steps and listens</i>) But here, these windows!—the -valets!—(<i>Scrutinizing the right vestibule</i>) And -Joana! -</p> - -<p> -<span class="spk">Zoraya.</span> Your wife!—It is not she who can -hear us! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Frightened</i>) What did you say? -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Standing motionless</i>) Go, and find -out for yourself. -</p> - -<p class="sdinfo"> -<span class="sc">Enrique</span> <i>goes up the steps and enters the room.</i> -</p> - -<p> -<span class="spk">The Watchman.</span> (<i>In the distance</i>) Ave, -Maria! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>In the chamber</i>) Joana! Joana! -</p> - -<p> -<span class="spk">The Watchman.</span> (<i>Farther away</i>) It is the -sixth hour. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>With the same voice</i>) Joana! -</p> - -<p> -<span class="spk">The Watchman.</span> (<i>Faintly in the distance</i>) I -am the watchman! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Coming out of the room and standing -frightened at the end of the stairway</i>) Ah, -wretch!—It is you who did it? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes! It is I! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Descending the stairs rapidly</i>) You -have killed her? -</p> - -<p> -<span class="spk">Zoraya.</span> Poor child!—She is asleep! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Going to</i> <span class="sc">Zoraya</span>) I spoke to her—she -heard nothing. I raised her—she fell back -cold. -</p> - -<p> -<span class="spk">Zoraya.</span> She is asleep, I tell you. -</p> - -<p> -<span class="spk">Enrique.</span> What power do you possess which -will produce a sleep like death? -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>At her feet</i>) 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. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Drawing away</i>) I do not care to -put you to the test! -</p> - -<p> -<span class="spk">Enrique.</span> You intend to leave? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes. -</p> - -<p> -<span class="spk">Enrique.</span> Alone—tonight? -</p> - -<p> -<span class="spk">Zoraya.</span> I intend to leave Toledo before dawn. -</p> - -<p> -<span class="spk">Enrique.</span> To leave Toledo? -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! God, yes!—this accursed city -which has nothing but sorrow and peril for me! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Barring her exit at the door</i>) -What! It is absurd—you shall not go! -</p> - -<p> -<span class="spk">Zoraya.</span> You would prefer to deliver me to -the Inquisition? -</p> - -<p> -<span class="spk">Enrique.</span> Ah! How unworthy! -</p> - -<p> -<span class="spk">Zoraya.</span> They are seeking for me—tonight, -perhaps. -</p> - -<p> -<span class="spk">Enrique.</span> And where are you going, poor child? -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> And there will be between us the -mountains, the rivers and the sea!—And shall we -always be apart, the one from the other? -</p> - -<p> -<span class="spk">Zoraya.</span> You are the one who wishes it. -</p> - -<p> -<span class="spk">Enrique.</span> 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. -</p> - -<p> -<span class="spk">Zoraya.</span> For instance, your wife’s home! -</p> - -<p> -<span class="spk">Enrique.</span> Ah! always she! -</p> - -<p> -<span class="spk">Zoraya.</span> Yes! always she between us!—Always, -always she! -</p> - -<p> -<span class="spk">Enrique.</span> Neither she nor any person—No one -in this world! -</p> - -<p> -<span class="spk">Zoraya.</span> Do you say so truly? -</p> - -<p> -<span class="spk">Enrique.</span> Before God! -</p> - -<p> -<span class="spk">Zoraya.</span> You love so much as that? -</p> - -<p> -<span class="spk">Enrique.</span> Yes! -</p> - -<p> -<span class="spk">Zoraya.</span> You will sacrifice all for me!—— -</p> - -<p> -<span class="spk">Enrique.</span> Yes! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>In his arms</i>) Then! Come with me? -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Thrilled</i>) To the home of your -kindred? -</p> - -<p> -<span class="spk">Zoraya.</span> They will receive you as a brother! -</p> - -<p> -<span class="spk">Enrique.</span> Me? A Spaniard—an enemy? -</p> - -<p> -<span class="spk">Zoraya.</span> As my lover! -</p> - -<p> -<span class="spk">Enrique.</span> With the rebels, me, a soldier?—Disclaim -my king? -</p> - -<p> -<span class="spk">Zoraya.</span> A tyrant! -</p> - -<p> -<span class="spk">Enrique.</span> My God? -</p> - -<p> -<span class="spk">Zoraya.</span> He is for every one. -</p> - -<p> -<span class="spk">Enrique.</span> And an exile—forever an exile from -my country? -</p> - -<p> -<span class="spk">Zoraya.</span> My own country is the country where -we may love. -</p> - -<p> -<span class="spk">Enrique.</span> No, do not say so! It is a crime to -listen to your words. -</p> - -<p> -<span class="spk">Zoraya.</span> My adored Enrique! -</p> - -<p> -<span class="spk">Enrique.</span> Deserter! renegade! perjurer. Traitor -to all my duties for all time! Never! even for -you! Never! Never! -</p> - -<p> -<span class="spk">Zoraya.</span> Stay then, coward, who has caused -me to lose everything! -</p> - -<p> -<span class="spk">Enrique.</span> Zoraya! -</p> - -<p> -<span class="spk">Zoraya.</span> Go—return to your wife! -</p> - -<p class="sdinfo"> -<i>She opens the street door quickly to go out and -recoils on seeing</i> <span class="sc">Cardenos</span> <i>standing motionless -on the threshold.</i> -</p> - - -<h3> -Scene Six -</h3> - -<p class="sdintro_c"> -The same persons, <span class="sc">Cardenos</span> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Frightened</i>) Cardenos! -</p> - -<p class="sdright"> -<i>She goes to the left.</i> -</p> - -<p> -<span class="spk">Enrique.</span> Cardenos here!—at this hour! -</p> - -<p> -<span class="spk">Cardenos.</span> (<i>Entering</i>) I am not more surprised -to see you myself, Don Enrique, than to find you in -such company. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Who places himself quickly between</i> -<span class="sc">Cardenos</span> <i>and the door, which he fastens</i>) Is that -advice, or a threat? -</p> - -<p> -<span class="spk">Cardenos.</span> (<i>Coldly</i>) Neither one nor the other!—I -am here by order of the Holy-Office to arrest -this woman (<i>movement by</i> <span class="sc">Enrique</span> <i>to rejoin and -protect</i> <span class="sc">Zoraya</span>) who practises sorcery. -</p> - -<p> -<span class="spk">Zoraya.</span> That is false! -</p> - -<p> -<span class="spk">Enrique.</span> Foolishness! -</p> - -<p> -<span class="spk">Cardenos.</span> You seem to have forgotten the -punishment in store for a crime like yours. -</p> - -<p> -<span class="spk">Enrique.</span> You are presumptuous! -</p> - -<p> -<span class="spk">Cardenos.</span> (<i>Continuing coldly</i>) 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. -</p> - -<p> -<span class="spk">Enrique.</span> His Eminence had foreseen that I -would not let you do it! -</p> - -<p> -<span class="spk">Cardenos.</span> 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! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Quickly</i>) Ah! if that is so, good—I -will go with you! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Violently obstructing her passage</i>) -Are you foolish? (<i>To</i> <span class="sc">Cardenos</span>.) Go tell -Ximénès that he has no right to my confession unless -he provides the same indulgence for her whom -he calls my accomplice. -</p> - -<p> -<span class="spk">Cardenos.</span> You shall say it to him yourself, -Señor Enrique. (<i>To</i> <span class="sc">Zoraya</span>) Come, you!—Follow -me! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Stopping</i> <span class="sc">Zoraya</span>) By God! This -is insolence! -</p> - -<p> -<span class="spk">Zoraya.</span> Enrique! -</p> - -<p> -<span class="spk">Enrique.</span> Silence! (<i>To</i> <span class="sc">Cardenos</span>) And you—get -out of here! -</p> - -<p> -<span class="spk">Cardenos.</span> Be careful that you do not render -indulgence for yourself impossible! -</p> - -<p> -<span class="spk">Enrique.</span> That is my own affair! -</p> - -<p> -<span class="spk">Cardenos.</span> And you would lose it for nothing! -</p> - -<p> -<span class="spk">Zoraya.</span> He has a reason!—Let me go! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Sharply to</i> <span class="sc">Cardenos</span>) Are you -not going? -</p> - -<p> -<span class="spk">Cardenos.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> During that time you should have -learned a better profession than the one you are -now engaged in. -</p> - -<p> -<span class="spk">Cardenos.</span> He would say the same to you. -</p> - -<p> -<span class="spk">Enrique.</span> 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! -</p> - -<p> -<span class="spk">Zoraya.</span> No! No! (<i>To</i> <span class="sc">Cardenos</span>) Do not -listen to him. Take me away. -</p> - -<p class="sdright"> -<span class="sc">Cardenos</span> <i>places his hand on her.</i> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Stepping between them</i>) Scoundrel! -Do not touch this woman! -</p> - -<p> -<span class="spk">Cardenos.</span> Do you refuse to let her go? -</p> - -<p> -<span class="spk">Enrique.</span> I dare to say yes. -</p> - -<p> -<span class="spk">Cardenos.</span> If there is a disturbance and a -scandal it will be only because you have wanted it! -</p> - -<p class="sdinfo"> -<i>He turns to go out.</i> <span class="sc">Enrique</span> <i>steps forward -between him and the door, putting his hand -on his shoulder.</i> -</p> - -<p> -<span class="spk">Enrique.</span> Where are you going? -</p> - -<p> -<span class="spk">Cardenos.</span> Where I please. -</p> - -<p> -<span class="spk">Enrique.</span> To bring your men? -</p> - -<p> -<span class="spk">Cardenos.</span> You compel me to do so. -</p> - -<p> -<span class="spk">Enrique.</span> You shall not go!—You shall not -call them! -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! My God! -</p> - -<p> -<span class="spk">Cardenos.</span> (<i>Withdrawing to the center of the -patio</i>) Then, there are our special valets who shall -help me! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>The same</i>) You venturesome ruffian! -</p> - -<p> -<span class="spk">Cardenos.</span> Let me go! -</p> - -<p> -<span class="spk">Enrique.</span> No! -</p> - -<p> -<span class="spk">Cardenos.</span> I shall call my men! -</p> - -<p> -<span class="spk">Enrique.</span> I defy you to do so! -</p> - -<p> -<span class="spk">Cardenos.</span> Help! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Leaping upon him</i>) Silence! -</p> - -<p> -<span class="spk">Cardenos.</span> (<i>Drawing his dagger</i>) Help! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Snatching it from him. He seizes</i> -<span class="sc">Cardenos</span> <i>by the wrists and throws him to the -ground</i>) Silence! Silence! -</p> - -<p> -<span class="spk">Cardenos.</span> Help! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Seizing his throat</i>) You will be -silent, demon! -</p> - -<p class="sdinfo"> -<span class="sc">Cardenos</span>, <i>suffocated, beats the air with his -hands, then falls strangled at the right of -the steps.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Leaping towards him</i>) Ah! unfortunate -man! What have you done? -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Infuriated, stoops over</i> <span class="sc">Cardenos</span>) -What?—What have I done to him? -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Raising his head</i>) He is dead! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Frightened</i>) No! -</p> - -<p> -<span class="spk">Zoraya.</span> See! He is dead, I tell you! See! -He is dead! He is dead! -</p> - -<p class="sdinfo"> -<i>She lets</i> <span class="sc">Cardenos’</span> <i>arms fall back.</i> -</p> - -<p> -<span class="spk">Enrique.</span> Is it possible! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Turning her eyes to the foot of the -stage</i>) Be quiet! -</p> - -<p class="sdinfo"> -<i>They see a lantern passing from one window to -another, followed by the sound of the opening -of the middle window. Frightened,</i> -<span class="sc">Zoraya</span> <i>and</i> <span class="sc">Enrique</span> <i>seek refuge on the -little stairway, hiding behind a column and -clumps of flowers.</i> -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>Half-clad at the window, leaning -in</i>) Hello! Some one called!—Who is there? -(<i>They hear another window opened opposite the -first one</i>) Is that you, Ginès? -</p> - -<p> -<span class="spk">Ginès.</span> (<i>Invisible</i>) Yes, master! -</p> - -<p> -<span class="spk">Ramiro.</span> Did you hear that disturbance—those -shouts? -</p> - -<p> -<span class="spk">Ginès.</span> Yes!—They were calls for aid! -</p> - -<p> -<span class="spk">Ramiro.</span> Was it in this house? -</p> - -<p> -<span class="spk">Ginès.</span> More likely in the street—those belated -drunkards! -</p> - -<p> -<span class="spk">Ramiro.</span> Dress yourself, awaken Padillo.—We -shall see! -</p> - -<p class="sdright"> -<i>He disappears, fastening the window.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Frightened, rising suddenly, in a low -voice</i>) They have gone! -</p> - -<p> -<span class="spk">Enrique.</span> Except you, no one has seen me and -none can accuse me! -</p> - -<p> -<span class="spk">Zoraya.</span> That is folly!—A man comes to arrest -me—who should kill him but you? -</p> - -<p> -<span class="spk">Enrique.</span> It is true!—Ah! God, God! Assassin!—Me! -me! -</p> - -<p> -<span class="spk">Zoraya.</span> Do not become excited or lament. -What is done is done. We shall not await them, -shall we? -</p> - -<p> -<span class="spk">Enrique.</span> Go then! -</p> - -<p> -<span class="spk">Zoraya.</span> Alone? -</p> - -<p> -<span class="spk">Enrique.</span> Go, Zoraya. -</p> - -<p> -<span class="spk">Zoraya.</span> Without you—No! -</p> - -<p> -<span class="spk">Enrique.</span> Merciful Heaven! What course -shall we take? -</p> - -<p> -<span class="spk">Zoraya.</span> Flight! -</p> - -<p> -<span class="spk">Enrique.</span> And where shall we fly to? -</p> - -<p> -<span class="spk">Zoraya.</span> Where I told you! -</p> - -<p> -<span class="spk">Enrique.</span> It is dishonorable and my life will -be lost! -</p> - -<p> -<span class="spk">Zoraya.</span> Remain! Then you will lose it more -quickly!—Come! Come on!—Come!—Come! -(<i>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.</i>) The musicians! -</p> - -<p> -<span class="spk">Enrique.</span> In the street? -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Despairingly</i>) If they have come -to give the morning serenade, it is for us. -</p> - -<p class="sdinfo"> -<i>They listen anxiously. The musicians draw -near, conversing and laughing, while thumbing -their strings.</i> -</p> - -<p> -<span class="spk">A Musician.</span> Shall we serenade Don Enrique -Palacios? -</p> - -<p class="sdright"> -<span class="sc">Zoraya</span> <i>makes a movement of fright.</i> -</p> - -<p> -<span class="spk">Another.</span> Simpleton!—He cares much for -your music at this moment! -</p> - -<p class="sdright"> -<i>Laughter.</i> -</p> - -<p> -<span class="spk">Another.</span> Besides, they did not pay us for -serenading him! -</p> - -<p class="sdinfo"> -<i>Approbations.</i> <span class="sc">Enrique</span> <i>anxiously watches -the house from the foot.</i> -</p> - -<p> -<span class="spk">The Other.</span> (<i>Farther away</i>) Come, then! -Laggards!—Not there, but in the other street. -</p> - -<p> -<span class="spk">All.</span> Yes! Coming, coming! -</p> - -<p class="sdinfo"> -<i>They go away making the same sounds with -which they came.</i> <span class="sc">Enrique</span> <i>goes toward the -foot listening for the valets’ return.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Opening the door cautiously and -looking into the street</i>) They are going farther -away.—They have gone round the corner of the -house. (<i>Shortly afterward they hear the distant -serenade, a voice singing:</i>) -</p> - -<div class="quoteouter"> -<div class="quoteinner"> -<span class="v0">Oh! Love is the conqueror</span> -<span class="v1">Whose flames devour me!</span> -<span class="v0">Open thy heart,</span> -<span class="v1">Thy lover implores thee!</span> -</div> -</div> - -<p class="noindent"> -(<span class="sc">Zoraya</span> <i>opens the door and looks relieved</i>) The -street is clear. Come quickly! (<i>Seeing</i> <span class="sc">Enrique</span>, -<i>who is searching for something on the floor</i>) Good -God! what are you searching for? -</p> - -<p> -<span class="spk">Enrique.</span> His dagger, which he dropped. -</p> - -<p class="sdright"> -<i>He picks it up and runs to the door.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Taking him in her arms</i>) Ah! yes, -yes!—Should they arrest us, you will kill me! -</p> - -<p> -<span class="spk">Enrique.</span> Yes, and myself afterward! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Seeing a light at the door of the -ground floor, at the foot</i>) Their voices! Quickly, -come quickly! -</p> - -<p class="sdinfo"> -<i>She and</i> <span class="sc">Enrique</span> <i>hurry out. At the same -time the door opens and</i> <span class="sc">Ramiro</span> <i>quickly -enters with two valets, one of whom carries -a lantern.</i> <span class="sc">Ramiro</span> <i>sees the body of</i> <span class="sc">Cardenos</span>, -<i>snatches the lantern from the valets -hands and looks at the dead mans face.</i> -</p> - -<p> -<span class="spk">All the Three.</span> Cardenos! -</p> - -<p class="sdinfo"> -<i>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:</i> “Stop those assassins! -Stop them! Arrest them!” <i>During this -part of the scene, which is very rapid, the -serenade continues.</i> -</p> - -<p class="end"> -(<i>Curtain</i>) -</p> - - -<h2> -ACT FOUR -</h2> - -<p> -<span class="sc">Scene</span>.—<i>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.</i> -</p> - - -<h3> -Scene One -</h3> - -<p class="sdintro_p0"> -<i>The Members of the Tribunal,</i> <span class="sc">Fray Eugenio Calabazas</span>, -<i>and</i> <span class="sc">Fray Teofilo Ibarra</span>, <i>Dominicans, -later</i> <span class="sc">Cleofas</span>, <span class="sc">Oliveira</span>, <span class="sc">Fray Miguel -Molina</span> <i>and</i> <span class="sc">Fray Hernando Albornos</span>, <i>Franciscans. -An Usher of the Tribunal, at the foot of the stage.</i> -</p> - -<p class="sdintro_p3"> -<i>As the curtain rises,</i> <span class="sc">Calabazas</span>, <i>seated, and</i> -<span class="sc">Ibarra</span>, <i>at the left outside, are discovered -talking in a low voice.</i> <span class="sc">Cleofas</span> <i>and</i> <span class="sc">Fray -Hernando Albornos</span> <i>enter at the right.</i> -</p> - -<p> -<span class="spk">Cleofas.</span> (<i>Advancing into the scene</i>) 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. -</p> - -<p> -<span class="spk">Albornos.</span> What business is so urgent that we -must convene before daybreak? -</p> - -<p> -<span class="spk">Cleofas.</span> (<i>Joining the group at the left</i>) You -Excellencies should have the goodness to tell us. -</p> - -<p> -<span class="spk">Calabazas.</span> We know no more about it than -you. -</p> - -<p> -<span class="spk">Ibarra.</span> 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. -</p> - -<p> -<span class="spk">Albornos.</span> Then you have no idea what it is? -</p> - -<p> -<span class="spk">Ibarra and Calabazas.</span> None. -</p> - -<p> -<span class="spk">Cleofas.</span> (<i>To</i> <span class="sc">Molina</span>, <i>who enters at right</i>) -And you, my reverend father? -</p> - -<p> -<span class="spk">Molina.</span> No more than you. -</p> - -<p> -<span class="spk">Calabazas.</span> In any case, I think, without question, -that the two women whom we again examined -after vespers are guilty of sorcery. -</p> - -<p> -<span class="spk">Molina.</span> Moreover, they confessed. -</p> - -<p> -<span class="spk">Ibarra.</span> That will simplify the task. -</p> - -<p> -<span class="spk">Cleofas.</span> (<i>Seeing</i> <span class="sc">Oliveira</span>, <i>who enters at the -left</i>) Is it not the opinion of my excellent colleague. -Master Oliveira, that there is not sufficient -evidence to condemn them? -</p> - -<p class="sdinfo"> -<i>All turn toward</i> <span class="sc">Oliveira</span> <i>with questioning -looks.</i> -</p> - -<p> -<span class="spk">Oliveira.</span> 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! -</p> - -<p> -<span class="spk">Calabazas.</span> Has she not a reason for accusing -them if she has seen them at these revels? -</p> - -<p class="sdright"> -<i>Murmurs of discreet approbation.</i> -</p> - -<p> -<span class="spk">Oliveira.</span> For her to have seen them, my -father, it would have been necessary for her to -have gone there herself. -</p> - -<p> -<span class="spk">Ibarra.</span> She partook in them. -</p> - -<p> -<span class="spk">Molina.</span> And you doubt that? -</p> - -<p> -<span class="spk">Oliveira.</span> 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! -</p> - -<p> -<span class="spk">Albornos.</span> 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. -</p> - -<p class="sdright"> -<i>Murmurs of approbation.</i> -</p> - -<p> -<span class="spk">Cleofas.</span> And that in the same body the devil -can place one of his imps, who will not change its -appearance. -</p> - -<p class="sdright"> -<i>Renewed approbation.</i> -</p> - -<p> -<span class="spk">Calabazas.</span> 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? -</p> - -<p> -<span class="spk">Oliveira.</span> 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?—— -</p> - -<p> -<span class="spk">Cleofas.</span> 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. -</p> - -<p class="sdright"> -<i>Murmurs of approval.</i> -</p> - -<p> -<span class="spk">Oliveira.</span> I found three on the body of the -Superior of the Incarnation, who afterward died in -unquestioned sainthood! -</p> - -<p class="sdinfo"> -<i>He walks toward the foot of the stage, followed -by the eyes of the displeased Inquisitors.</i> -</p> - -<p> -<span class="spk">Calabazas.</span> (<i>In a low voice</i>) This surgeon -is too much of a reasoner! -</p> - -<p> -<span class="spk">Cleofas.</span> You need say nothing to me about -it!—If they listened to him they would burn no -one! -</p> - - -<h3> -Scene Two -</h3> - -<p class="sdintro_c"> -The same persons, then <span class="sc">Padilla</span>, followed by -<span class="sc">D’Aguilar</span>, notary of the tribunal. -</p> - -<p class="sdinfo"> -<span class="sc">Padilla</span>, <i>pale and agitated, quickly enters at -the left.</i> -</p> - -<p> -<span class="spk">The Usher.</span> (<i>Announcing</i>) His Excellency, -the Governor. -</p> - -<p class="sdinfo"> -<i>All salute</i> <span class="sc">Padilla</span>, <i>who looks about for</i> -<span class="sc">Ximénès</span> <i>and stops.</i> -</p> - -<p> -<span class="spk">Padilla.</span> His Eminence is not here? -</p> - -<p> -<span class="spk">Albornos.</span> Not yet, Lord Padilla. -</p> - -<p> -<span class="spk">Padilla.</span> I want to see him!—I must speak to -him! -</p> - -<p class="sdright"> -<i>He makes a movement to leave.</i> -</p> - -<p> -<span class="spk">Calabazas.</span> Be pleased to wait for him with -us. -</p> - -<p> -<span class="spk">Padilla.</span> Yes! yes! (<i>To</i> <span class="sc">Calabazas</span>) Ah! -my father, do you believe it! A gentleman, a -soldier! my son—— -</p> - -<p class="sdinfo"> -<i>He goes toward the iron door and waits for</i> -<span class="sc">Ximénès</span>. <i>The Inquisitors surround</i> -<span class="sc">D’Aguilar</span> <i>in the foreground.</i> -</p> - -<p> -<span class="spk">Molina.</span> (<i>To</i> <span class="sc">D’Aguilar</span> <i>in a low voice</i>) -Some misfortune has befallen His Excellency? -</p> - -<p> -<span class="spk">D’Aguilar.</span> (<i>In a low voice</i>) Your lordships, -then, do not know why you are called to meet -at this hour? -</p> - -<p> -<span class="spk">All.</span> (<i>With low voices</i>) No!—Why? What -is it?—We know nothing about it! -</p> - -<p> -<span class="spk">D’Aguilar.</span> (<i>The same</i>) Lord Palacios has -been arrested. -</p> - -<p> -<span class="spk">All.</span> Arrested! -</p> - -<p> -<span class="spk">Calabazas.</span> Don Enrique? -</p> - -<p> -<span class="spk">D’Aguilar.</span> For assassinating Cardenos!—— -</p> - -<p> -<span class="spk">All.</span> Good God!—Is it possible! Our Agent! -</p> - -<p> -<span class="spk">D’Aguilar.</span> 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!” -</p> - -<p> -<span class="spk">Cleofas.</span> A Mooress? -</p> - -<p> -<span class="spk">D’Aguilar.</span> Yes. -</p> - -<p> -<span class="spk">Cleofas.</span> It is Zoraya! -</p> - -<p> -<span class="spk">The Usher.</span> His Eminence! -</p> - -<p class="sdright"> -<i>All turn to the right to salute the Cardinal.</i> -</p> - - -<h3> -Scene Three -</h3> - -<p class="sdinfo"> -The same persons, <span class="sc">Ximénès</span>, <span class="sc">Gil Andrès</span>, -<i>Keeper of the Jail</i>, <span class="sc">Two Monks</span>, <span class="sc">Two Aides</span> -<i>to</i> <span class="sc">Gil Andrès</span> <i>stand at the entrance of the -iron door at the left. Two Franciscan monks watch at the foot of the stage -during the act.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>To</i> <span class="sc">Padilla</span>) 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? -</p> - -<p> -<span class="spk">Padilla.</span> 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! -</p> - -<p> -<span class="spk">Ximénès.</span> No!—He confesses it! -</p> - -<p class="sdright"> -<i>All start.</i> -</p> - -<p> -<span class="spk">Padilla.</span> The assassination? -</p> - -<p> -<span class="spk">Ximénès.</span> Yes!—The assassination, his infamous -relation with the Saracen woman and his -plan of fleeing to African soil. -</p> - -<p class="sdright"> -<i>All are indignant.</i> -</p> - -<p> -<span class="spk">Padilla.</span> (<i>After a gesture of despair</i>) The -more monstrous the crime the stronger is the proof -that he has lost his reason! -</p> - -<p> -<span class="spk">Ximénès.</span> 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? -</p> - -<p> -<span class="spk">Oliveira.</span> (<i>Pointing at</i> <span class="sc">Gil Andrès</span> <i>at the foot</i>) -Here, Eminence! -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>To</i> <span class="sc">Gil Andrès</span>) Has she spoken -some word of confession? -</p> - -<p> -<span class="spk">Gil Andrès.</span> None, Eminence. She has said -nothing since she asked about Don Enrique. She -appeared to care less about her own delivery than -about his. -</p> - -<p> -<span class="spk">Ximénès.</span> Is she there? -</p> - -<p> -<span class="spk">Gil Andrès.</span> Yes, Your Eminence. -</p> - -<p> -<span class="spk">Ximénès.</span> Go get her! (<span class="sc">Gil Andrès</span> <i>goes out -at left with his two aides. To</i> <span class="sc">Padilla</span>) Your -Excellency may sit down. The Tribunal authorizes -you to assist in questioning. (<span class="sc">Padilla</span> <i>bows. -The Tribunal is installed.</i> <span class="sc">Ximénès</span> <i>sits on a chair -before the other judges.</i> <span class="sc">Padilla</span> <i>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.</i>) 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. -</p> - -<p> -<span class="spk">All.</span> Amen! -</p> - -<p> -<span class="spk">Ximénès.</span> Exaudi nos, Domini. -</p> - -<p> -<span class="spk">All.</span> Amen! -</p> - -<p class="sdinfo"> -<i>They seat themselves,</i> <span class="sc">Gil Andrès</span> <i>opens the -iron door at the left.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>To</i> <span class="sc">Gil Andrès</span>) Bring in the -Mooress! -</p> - -<p class="sdinfo"> -<span class="sc">Zoraya</span> <i>is brought in through the iron door. -With a gesture</i> <span class="sc">Gil Andrès</span> <i>compels her to -advance into the middle of the scene where -she stops and waits.</i> -</p> - - -<h3> -Scene Four -</h3> - -<p class="sdintro_c"> -The same persons, <span class="sc">Zoraya</span> -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>To</i> <span class="sc">Cleofas</span>, <i>who rises and salutes</i>) -Do you wish to speak, Master Cleofas? -</p> - -<p> -<span class="spk">Cleofas.</span> 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. -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>To</i> <span class="sc">Zoraya</span>) Is this true? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes, Your Eminence. -</p> - -<p class="sdinfo"> -<span class="sc">Cleofas</span> <i>seats himself.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> Let that pass—And, Rain of Heaven, -if she has not greater crimes to expiate! (<i>To</i> <span class="sc">Zoraya</span>) -Your name? -</p> - -<p> -<span class="spk">Zoraya.</span> Zoraya, daughter of the scholar and -physician, Abou-Abassa. -</p> - -<p class="sdinfo"> -<i>Ironical gesture from</i> <span class="sc">Cleofas</span> <i>at the name -physician.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> Your father, it appears, was a genuine -necromancer? -</p> - -<p> -<span class="spk">Zoraya.</span> That is the calumnious assertion of ignoramuses, -who interpret as diabolical everything -which surpasses their own knowledge. -</p> - -<p> -<span class="spk">Ximénès.</span> He left you the knowledge of his art -of healing? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes, Your Eminence. -</p> - -<p> -<span class="spk">Ximénès.</span> Without magic? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes, without magic. -</p> - -<p> -<span class="spk">Ximénès.</span> You are accused of improper relations -with Don Enrique Palacios. The charge is -not doubted, as your accomplice has confessed. -</p> - -<p> -<span class="spk">Zoraya.</span> Neither do I deny it. -</p> - -<p> -<span class="spk">Ximénès.</span> You know, of course, that for you -awaits the dungeon and for him the galleys! -</p> - -<p> -<span class="spk">Zoraya.</span> Love is stronger than fear! -</p> - -<p class="sdright"> -<i>The Governor rises and salutes</i> <span class="sc">Ximénès</span>. -</p> - -<p> -<span class="spk">Ximénès.</span> You may speak, Governor. -</p> - -<p> -<span class="spk">Padilla.</span> 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. -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>To</i> <span class="sc">Zoraya</span>) Do you hear that? -</p> - -<p class="sdright"> -<i>The Governor sits down.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> I had recourse to nothing but the usual -attractions of all women. -</p> - -<p> -<span class="spk">Ximénès.</span> And you have not made him mad -with love for you with the use of incantations, -philters, evil methods? -</p> - -<p> -<span class="spk">Zoraya.</span> With no other philter than my ardent -love for him! -</p> - -<p> -<span class="spk">Ximénès.</span> Briefly, you deny being a sorceress? -</p> - -<p> -<span class="spk">Zoraya.</span> If I were one, I should be far from -here! -</p> - -<p> -<span class="spk">Ximénès.</span> 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? -</p> - -<p> -<span class="spk">Zoraya.</span> I saw that the Christians were no better -than we. -</p> - -<p class="sdinfo"> -<i>Movements among the members of the Tribunal.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> And, naturally, you deny being at a -witches’ revel? -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! certainly, yes, I deny it! Yes, I -deny it! -</p> - -<p> -<span class="spk">Ximénès.</span> You are not, then, afraid to have it -proved to you—you defend yourself with such -warmth? -</p> - -<p> -<span class="spk">Zoraya.</span> How can I prove my innocence if my -denials are taken as confessions? -</p> - -<p> -<span class="spk">Ximénès.</span> We shall see what they are worth. -(<i>To</i> <span class="sc">Gil Andrès</span>) Bring in the two women who -are there. (<i>To</i> <span class="sc">Zoraya</span>) You may be seated. -</p> - -<p class="sdinfo"> -<span class="sc">Zoraya</span> <i>sits down at the left on a seat next to -that occupied by</i> <span class="sc">Calabazas</span>. -</p> - - -<h3> -Scene Five -</h3> - -<p class="sdintro_c"> -The same persons, <span class="sc">Manuela</span>, <span class="sc">Afrida</span> -</p> - -<p class="sdinfo"> -<span class="sc">Gil Andrès</span> <i>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</i> <span class="sc">Gil Andrès</span> <i>pushes before -him old</i> <span class="sc">Afrida</span>, <i>whom</i> <span class="sc">Zoraya</span> <i>regards with -surprise and disgust.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>To</i> <span class="sc">Afrida</span>) Come forward! (<span class="sc">Gil -Andrès</span>, <i>with a blow, forces</i> <span class="sc">Afrida</span> <i>to go forward. -To</i> <span class="sc">D’Aguilar</span>) Write: “Afrida.” (<i>To</i> <span class="sc">Afrida</span>) -You confessed the other day—(<span class="sc">Afrida</span>, <i>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</i>) What is this?—Are -you mocking us? -</p> - -<p> -<span class="spk">Gil Andrès.</span> With your permission. Your Eminence, -she is thus frequently seen holding her ear -to listen to her favorite demon, whom she calls -Verdelet. -</p> - -<p> -<span class="spk">Ximénès.</span> 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. -</p> - -<p class="sdinfo"> -<span class="sc">Afrida</span> <i>smiles like an idiot and makes a sign -with her hand.</i> -</p> - -<p> -<span class="spk">Afrida.</span> Patience!—patience!—There he goes! -</p> - -<p class="sdright"> -<i>She laughs stupidly.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> What are you laughing at, old ribald? -</p> - -<p> -<span class="spk">Afrida.</span> (<i>Looking the same</i>) At the face he -made when he went out. -</p> - -<p> -<span class="spk">Ximénès.</span> Take care that you are not seated on -a wooden horse! (<i>She attempts to speak</i>) 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. -</p> - -<p> -<span class="spk">Afrida.</span> To avenge myself upon those who were -happier than I. -</p> - -<p> -<span class="spk">Ximénès.</span> You confessed to being at a nocturnal -revelry attended by witches, did you not? -</p> - -<p> -<span class="spk">Afrida.</span> Oh! I have often been (<i>counting on -her fingers</i>) more than thirty times. -</p> - -<p> -<span class="spk">Ximénès.</span> By what power do you go? -</p> - -<p> -<span class="spk">Afrida.</span> 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!” -</p> - -<p class="sdinfo"> -<i>She writhes and chokes with laughter, after -being seated on a step at the foot of</i> <span class="sc">Ximénès</span>. -</p> - -<p> -<span class="spk">Ximénès.</span> 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? -</p> - -<p> -<span class="spk">Afrida.</span> (<i>Hatefully</i>) 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! -</p> - -<p> -<span class="spk">Ximénès.</span> Turn your eyes a little to that side -(<i>indicating to her</i> <span class="sc">Zoraya</span>) and look at that woman. -(<i>She rises, pointing to</i> <span class="sc">Zoraya</span>) Yes, she there!—Does -she not remind you of something? -</p> - -<p> -<span class="spk">Afrida.</span> (<i>Approaching</i> <span class="sc">Zoraya</span> <i>and leaning -over her</i>) Yes!—I have seen that nose there somewhere! -Raise your eyes a little, beautiful! What -makes you dislike to see me—(<i>Suddenly</i>) Yes! yes! -I remember her!—Here is one of them!—— -</p> - -<p> -<span class="spk">Ximénès.</span> One of whom? -</p> - -<p> -<span class="spk">Afrida.</span> One of those from below, there!—One -of those who danced at the witches’ revel! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Indignant, rising</i>) Me? Me? -</p> - -<p> -<span class="spk">Afrida.</span> Yes, you! Do not now become a -straight-laced prude; I have seen you as clearly as -I see you now—carousing with us!—— -</p> - -<p> -<span class="spk">Zoraya.</span> But, you lie, you wretch!—You lie!—Do -not believe such execrable foolishness! -</p> - -<p> -<span class="spk">Afrida.</span> (<i>Furious</i>) 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! -</p> - -<p> -<span class="spk">Zoraya.</span> Oh! it is false! It is false! -</p> - -<p> -<span class="spk">Afrida.</span> (<i>Following her in the scene and walking -round her</i>) Go! go! You were given by the -Evil One to be rich and beautiful! You will be -roasted, my girl! (<i>Laughing</i>) Roasted, those beautiful -eyes so fiery!—roasted your skin so white, -which all the men want to cling to—roasted all -that, roasted, roasted! -</p> - -<p class="sdinfo"> -<i>At a motion from</i> <span class="sc">Ximénès</span>, <i>she goes out, crying, -following by</i> <span class="sc">Gil Andrès</span>. -</p> - - -<h3> -Scene Six -</h3> - -<p class="sdintro_c"> -The same, without <span class="sc">Afrida</span> -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! the horrible old woman!—— -</p> - -<p> -<span class="spk">Ximénès.</span> An insult is not a reply!—She affirms; -you deny. The accusation stands. And the -Tribunal judges. (<i>To</i> <span class="sc">Gil Andrès</span>) Bring the -other. (<i>They make come forward</i> <span class="sc">Manuela</span>, <i>who -is weak and trembling with fright</i>) You, also, you -have confessed it!—You have gone to the witches’ -revels? -</p> - -<p> -<span class="spk">Manuela.</span> Only once, Your Eminence—Only -once! Mercy! -</p> - -<p> -<span class="spk">Ximénès.</span> That is once too often! -</p> - -<p> -<span class="spk">Manuela.</span> 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!—(<i>She falls -upon her knees on the steps before</i> <span class="sc">Ximénès</span> <i>and -weeps</i>) Have pity!—I have harmed no one!—And -I am punished enough now! -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>Severely</i>) What else? -</p> - -<p> -<span class="spk">Manuela.</span> 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!” -</p> - -<p> -<span class="spk">Ximénès.</span> And you went to the home of the -Other One? -</p> - -<p> -<span class="spk">Manuela.</span> 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! (<i>Sobbing</i>) 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? -</p> - -<p> -<span class="spk">Ximénès.</span> Raise your head—and look at this -woman. (<span class="sc">Manuela</span> <i>obeys</i>) Do you recognize her -as one of those who attended the witches’ revel? -</p> - -<p> -<span class="spk">Manuela.</span> (<i>After looking at</i> <span class="sc">Zoraya</span>) No, -no, Your Eminence. -</p> - -<p> -<span class="spk">Ximénès.</span> Look at her carefully. And remember -that you will receive some consideration if you -answer frankly. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Going to her</i>) Yes, look at me. -</p> - -<p> -<span class="spk">Manuela.</span> (<i>Tremblings after looking at</i> <span class="sc">Zoraya</span>) -They made me drunk—I had no reason left—I -do not remember clearly!—— -</p> - -<p> -<span class="spk">Ximénès.</span> Are you afraid that she will avenge -herself?—She cannot harm you!—Then, confess -that you saw her at this diabolical feast! -</p> - -<p> -<span class="spk">Manuela.</span> (<i>With the same voice</i>) I cannot remember! -</p> - -<p> -<span class="spk">Ximénès.</span> Take care, for we have sure methods -for refreshing your memory. -</p> - -<p> -<span class="spk">Manuela.</span> Have mercy, my lord!—I am telling -the truth! -</p> - -<p> -<span class="spk">Ximénès.</span> No!—You recognize her, but will -not admit it! -</p> - -<p> -<span class="spk">Manuela.</span> Should I accuse an innocent one!—condemn -her without being certain?—I shall lose my -soul! -</p> - -<p> -<span class="spk">Ximénès.</span> The safety of your soul depends upon -us—as does that of your body!—Then, you have -seen her, have you not? -</p> - -<p> -<span class="spk">Manuela.</span> I am not certain!— -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>With the same voice</i>) Andrès! -</p> - -<p> -<span class="spk">Manuela.</span> (<i>Frightened, between his knees</i>) -No, no! Have mercy!—mercy! Do nothing more -to me! -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>Very sternly</i>) Do you recognize -her? -</p> - -<p> -<span class="spk">Manuela.</span> (<i>In tears</i>) Yes, yes! I know her!—I -recognize her! (<i>Falling on her knees at</i> <span class="sc">Zoraya’s</span> -feet) Ah! pardon, pardon me!—I am too -weak! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Very much moved</i>) Yes, poor girl, -yes! I pardon you! -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>To</i> <span class="sc">Gil Andrès</span>) Take her away! -</p> - -<p class="sdinfo"> -<span class="sc">Gil Andrès</span> <i>raises</i> <span class="sc">Manuela</span> <i>and leads her -away, sobbing.</i> -</p> - - -<h3> -Scene Seven -</h3> - -<p class="sdintro_c"> -The same persons, without <span class="sc">Manuela</span> -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>To</i> <span class="sc">Zoraya</span>) Here is more testimony -against you. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Indignant</i>) Testimony!—of that unfortunate -girl! -</p> - -<p> -<span class="spk">Ximénès.</span> According to her own confessions!— -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! her confessions!—made under the -threats of your tortures! (<i>Movements among the -members of the Tribunal</i>) You can find whatever -pleases you with the aid of him, there. (<i>She points -to</i> <span class="sc">Gil Andrès</span>) 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! -</p> - -<p class="sdinfo"> -<i>The Inquisitors make movements of astonishment.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>Calmly</i>) It is not likely that I shall -have occasion to submit to such a trial!—Prove to -us that these women have lied! -</p> - -<p> -<span class="spk">Zoraya.</span> 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? -</p> - -<p> -<span class="spk">Ximénès.</span> That is the opinion of the Tribunal. -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p class="sdright"> -<i>Murmurs of indignation from the Inquisitors.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> Do you mean to defy us? -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p class="sdright"> -<i>Exclamations from the Tribunal.</i> -</p> - -<p> -<span class="spk">Calabazas.</span> Your hatred, villainous Mooress! -</p> - -<p> -<span class="spk">Zoraya.</span> 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! -</p> - -<p class="sdright"> -<i>Protestations from the Tribunal.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> Let her alone!—her lips are betraying -the disease from which she is suffering. -</p> - -<p> -<span class="spk">Zoraya.</span> 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! (<i>Pointing -to the Calvary</i>) And, that prophet—your God!—crucified -by the Inquisitors of his time!—A martyr, -whom you make an executioner! (<i>There is a -movement of protest among the Inquisitors, two of -whom rise indignantly.</i> <span class="sc">Zoraya</span> <i>turns toward the -Christ on the Calvary and addresses it</i>) 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! -</p> - -<p class="sdinfo"> -<i>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.</i> -</p> - -<p> -<span class="spk">All.</span> Blasphemy!—Blasphemy! -</p> - -<p> -<span class="spk">Albornos.</span> Shall we let this Saracen continue -to insult the Tribunal? -</p> - -<p> -<span class="spk">Calabazas.</span> And the Church! -</p> - -<p> -<span class="spk">Ibarra.</span> The sentence!—Eminence! the sentence! -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>Who remains seated</i>) Be calm!—She -is not alone a blasphemer to the Governor and -me.—She is a sorceress! -</p> - -<p> -<span class="spk">Albornos.</span> That has been proven! -</p> - -<p> -<span class="spk">Ximénès.</span> Not yet. I must have more testimony -in the form of a confession. -</p> - -<p> -<span class="spk">Padilla.</span> Then torture her! -</p> - -<p> -<span class="spk">Ximénès.</span> This woman?—All of our torments -would not wrest one word from her. -</p> - -<p> -<span class="spk">All.</span> What other means will you use, Eminence? -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>Rising</i>) Then!—(<i>Loud enough -for</i> <span class="sc">Zoraya</span> <i>to hear him</i>) We shall question her -accomplice (<span class="sc">Zoraya</span> <i>starts</i>) and ask him to explain -the reason for the murder of Cardenos, which -he confesses, and (<span class="sc">Zoraya</span> <i>again starts</i>) why this -woman was in his house on such a night. -</p> - -<p> -<span class="spk">Zoraya.</span> In spite of that he!—— (<i>She rises -quickly.</i>) -</p> - -<p> -<span class="spk">Ximénès.</span> It is not for you to plead his -case!—— -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Quickly, going to</i> <span class="sc">Ximénès</span>) Yes, -yes! it is I! (<span class="sc">Ximénès</span> <i>makes a sign to</i> <span class="sc">Gil -Andrès</span>.) Wait!—Oh! wait, wait, then! (<span class="sc">Andrès</span> -<i>stops.</i>) 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? -</p> - -<p class="sdinfo"> -<i>All of the Inquisitors advance and group themselves -at her left.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>Quickly going to her</i>) Then you -wish to convince us that this murder is your work? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes, it is my work! -</p> - -<p> -<span class="spk">Ximénès.</span> It is you who caused this unfortunate -man to become an assassin? -</p> - -<p> -<span class="spk">Zoraya.</span> It is I!—It is I! -</p> - -<p> -<span class="spk">Ximénès.</span> And by his flight, a deserter and a -renegade? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes! yes!—It is I!—It is I! -</p> - -<p> -<span class="spk">Ximénès.</span> And is that not enough, wretched -woman! It must be that you are bent upon his -utter ruin! -</p> - -<p> -<span class="spk">Zoraya.</span> I? -</p> - -<p> -<span class="spk">Ximénès.</span> For you have condemned him to -death! -</p> - -<p> -<span class="spk">Padilla.</span> Without pity, too! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Going to</i> <span class="sc">Padilla</span>. <span class="sc">Ximénès</span> <i>is at -her right,</i> <span class="sc">Padilla</span> <i>at her left,</i> <span class="sc">Albornos</span> <i>and</i> -<span class="sc">Ibarra</span> <i>stand behind her.</i>) Oh! how horrible! I -would give my flesh and blood to save him! -</p> - -<p> -<span class="spk">Ximénès.</span> No!—You can do that with one -word!—And you are too obstinate to speak it! -</p> - -<p> -<span class="spk">Zoraya.</span> One word? -</p> - -<p> -<span class="spk">Padilla.</span> Tell the truth! -</p> - -<p> -<span class="spk">Zoraya.</span> But, I told it!—I told the truth! -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>Whispering in her ear</i>) No!—there -is one thing which you have not admitted—one -thing, alone—which will make him innocent of -all crime! -</p> - -<p> -<span class="spk">Padilla.</span> And save him from all punishment! -</p> - -<p> -<span class="spk">Ximénès.</span> The cause of his madness! -</p> - -<p> -<span class="spk">Padilla.</span> Madness due to your witchcraft! -</p> - -<p> -<span class="spk">Albornos.</span> And your philters! -</p> - -<p> -<span class="spk">Ximénès.</span> And your poisons! -</p> - -<p class="sdinfo"> -<i>All are silent for an instant, during which</i> -<span class="sc">Zoraya</span> <i>looks at them stupefied.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! I understand!—I understand! -(<i>The Inquisitors are silent</i>) 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? -</p> - -<p> -<span class="spk">Ximénès.</span> And he escapes execution. -</p> - -<p> -<span class="spk">Padilla.</span> He will be sent to the galleys! -</p> - -<p> -<span class="spk">Ximénès.</span> To prison! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Quickly</i>) He is free? -</p> - -<p> -<span class="spk">Ximénès and Padilla.</span> Yes. -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! say so, then!—say it, then! On -that condition, yes! on that condition! I will confess -to whatever you wish!—(<i>Movement of satisfaction -among the Inquisitors.</i>) But, when will -you set him at liberty? -</p> - -<p> -<span class="spk">Ximénès and Padilla.</span> On the spot! -</p> - -<p> -<span class="spk">Zoraya.</span> Then! Quickly! quickly!—Tell me -what I must say! -</p> - -<p class="sdinfo"> -<span class="sc">Ximénès</span> <i>returns quickly to his seat. Between -two guards,</i> <span class="sc">Enrique</span> <i>appears at the -iron door.</i> <span class="sc">Padilla</span> <i>makes him advance -to the left out of sight of</i> <span class="sc">Zoraya</span>, <i>whom -the Inquisitors surround, seated and standing. -The clerk writes. All this takes place -rapidly.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>Leaning toward</i> <span class="sc">Zoraya</span>) You -confess of your own free will and with repentance -that you compelled Enrique Palacios to love you -madly—— -</p> - -<p> -<span class="spk">Padilla.</span> (<i>To</i> <span class="sc">Enrique</span>, <i>in a low voice</i>) Do -you hear that? -</p> - -<p> -<span class="spk">Ximénès.</span> 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! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Quickly</i>) Yes! yes! I confess it! -</p> - -<p> -<span class="spk">Ximénès.</span> You confess? -</p> - -<p> -<span class="spk">Zoraya.</span> Oh! is not that enough? -</p> - -<p> -<span class="spk">Ximénès.</span> And that you went to the witches’ -dance? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes! yes! I confess. -</p> - -<p class="sdinfo"> -<span class="sc">Padilla</span> <i>restrains</i> <span class="sc">Enrique</span> <i>from moving forward.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> That you have taken part in diabolical -feasts and obscene dances? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes! -</p> - -<p class="sdright"> -<span class="sc">Enrique</span> <i>again attempts to go forward.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> And that you gave up your body to -the lusts of all present, sorcerers and demons? -</p> - -<p> -<span class="spk">Zoraya.</span> Yes! yes! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Restrained by</i> <span class="sc">Padilla</span> <i>and</i> <span class="sc">Gil -Andrès</span>) Ah! accursed one! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Turning</i>) Him! Oh! (<i>She attempts -to rush to him, but others prevent her.</i>) -No! Do not believe that! My Enrique! Not -that! not that!—Do not believe it! -</p> - -<p> -<span class="spk">Enrique.</span> Away from me, prostitute of Hell! -</p> - -<p class="sdright"> -<span class="sc">Padilla</span> <i>pushes him to the door.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> I have lied!—It is false! It is false! -</p> - -<p> -<span class="spk">Ximénès.</span> (<i>Sternly</i>) It is false! Detain that -man! (<i>The guards step before</i> <span class="sc">Enrique</span>. <i>To</i> -<span class="sc">Zoraya</span>.) Is it false? -</p> - -<p> -<span class="spk">Zoraya.</span> No! no!—It is true!—I confess! I -confess! It is true! -</p> - -<p class="sdinfo"> -<i>She falls upon the steps exhausted.</i> <span class="sc">Padilla</span> -<i>drags</i> <span class="sc">Enrique</span> <i>out of the door at right.</i> -</p> - -<p> -<span class="spk">Ximénès.</span> We shall burn her after vespers! -</p> - -<p class="end"> -(<i>Curtain</i>) -</p> - - -<h2> -ACT FIVE -</h2> - -<p> -<span class="sc">Scene</span>—<i>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.</i> -</p> - - -<h3> -Scene One -</h3> - -<p class="sdintro_p0"> -<span class="sc">Doña Rufina</span>, <span class="sc">Doña Syrena</span>, <span class="sc">Ramiro</span>, <span class="sc">Rioubos</span>, <span class="sc">Velasco</span>, -<span class="sc">Ambrosio</span>, <span class="sc">Cristobol</span>, <span class="sc">Torillo</span>, later -<span class="sc">Cleofas</span>, people, monks, soldiers, women -and children. -</p> - -<p class="sdintro_p3"> -<i>There are few persons in the scene, with the -exception of some men conversing near the -doors. A group of gentlemen, among them</i> -<span class="sc">Cristobol</span>, <span class="sc">Velasco</span> <i>and</i> <span class="sc">Rioubos</span>, <i>enter -from the alley at the foot of the scene and -stop to look at the pyre.</i> <span class="sc">Doña Serafina</span>, -<span class="sc">Doña Rufina</span> <i>and</i> <span class="sc">Doña Syrena</span>, <i>preceded -by</i> <span class="sc">Ramiro</span>, <i>enter from the other alley -at the same time that</i> <span class="sc">Don Ambrosio</span> -<i>and</i> <span class="sc">Doña Fabia</span> <i>come out of the house -at the left. Men, women and children are -coming out of the Cathedral.</i> -</p> - -<p> -<span class="spk">Ramiro.</span> Here is the pyre! -</p> - -<p> -<span class="spk">Doña Rufina.</span> They intend to burn her tonight, -do they not? -</p> - -<p> -<span class="spk">Ramiro.</span> In a short time, Señoras—have patience. -I have seen them come out of the prison. -</p> - -<p class="sdinfo"> -<i>After examining the pyre, they join</i> <span class="sc">Fabia</span> <i>and</i> -<span class="sc">Ambrosio</span> <i>in front of the house.</i> -</p> - -<p> -<span class="spk">Doña Syrena.</span> (<i>To</i> <span class="sc">Ramiro</span>) Is there anything -new concerning Don Enrique? -</p> - -<p> -<span class="spk">Ramiro.</span> Yes, good news!—His Lordship is -free! -</p> - -<p> -<span class="spk">Doña Rufina and Doña Syrena.</span> Ah! so -much the better! -</p> - -<p> -<span class="spk">Ramiro.</span> 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! -</p> - -<p> -<span class="spk">Doña Syrena.</span> Where is Don Enrique? -</p> - -<p> -<span class="spk">Ramiro.</span> At this moment, I do not know. -(<span class="sc">Cleofas</span> <i>comes out of the church with two persons, -who salute him and bow.</i>) Here is Cleofas -coming out of the church. He will tell you. (<i>He -calls.</i>) Master Cleofas! -</p> - -<p> -<span class="spk">Cleofas.</span> Ah! at your service! (<i>He approaches.</i>) -Charming ladies!—— -</p> - -<p> -<span class="spk">Doña Rufina.</span> We were speaking of Don -Enrique. -</p> - -<p> -<span class="spk">Doña Syrena.</span> Saved, by the grace of God! -</p> - -<p> -<span class="spk">Ambrosio.</span> Was he released without punishment? -</p> - -<p class="sdinfo"> -<i>The young men form in groups round</i> <span class="sc">Cleofas</span> -<i>and the others in the foreground at the -left.</i> -</p> - -<p> -<span class="spk">Cleofas.</span> 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. -</p> - -<p> -<span class="spk">Doña Rufina.</span> That is a jolly honeymoon! -</p> - -<p> -<span class="spk">Doña Fabia.</span> And what does his young wife -say? -</p> - -<p> -<span class="spk">Cleofas.</span> Doña Joana? -</p> - -<p> -<span class="spk">Doña Fabia and Doña Rufina.</span> Yes. -</p> - -<p> -<span class="spk">Cleofas.</span> She says nothing! Since yesterday -she has been in such a deep sleep that they cannot -awaken her. -</p> - -<p> -<span class="spk">All.</span> (<i>Turning</i>) Since yesterday! Is that -possible! -</p> - -<p> -<span class="spk">Cleofas.</span> 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. -</p> - -<p> -<span class="spk">All.</span> Naturally. -</p> - -<p> -<span class="spk">Cleofas.</span> Naturally!—I cannot make her show -a sign of awakening. -</p> - -<p> -<span class="spk">All.</span> Ah! -</p> - -<p> -<span class="spk">Cleofas.</span> 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. (<i>They hear the chants of young girls.</i>) -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. -</p> - -<p class="sdright"> -<i>He salutes and takes leave.</i> -</p> - -<p> -<span class="spk">Doña Rufina.</span> And you are going? -</p> - -<p> -<span class="spk">Doña Syrena.</span> Without seeing them burn the -Sorceress? -</p> - -<p> -<span class="spk">Cleofas.</span> Pooh! I have seen such things as -those so often that I no longer find them tasteful. -</p> - -<p class="sdinfo"> -<i>He leaves by the alley at the right. The others, -grouped at the left, look at</i> <span class="sc">Don Enrique</span>, -<i>who comes out of the church and slowly -descends the steps.</i> -</p> - - -<h3> -Scene Two -</h3> - -<p class="sdintro_c"> -The same, without <span class="sc">Cleofas</span>. <span class="sc">Don Enrique</span>, -<span class="sc">Ramiro</span>, <span class="sc">Torillo</span> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Calling</i> <span class="sc">Ramiro</span>, <i>who is giving -some orders to his archers</i>) Ramiro! -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>Turning and quickly going to him</i>) -Ah! my lord! What a relief your deliverance is -to those who love you! (<i>He kisses his hand.</i>) -And what joy you, yourself, must feel! -</p> - -<p> -<span class="spk">Enrique.</span> I am very sad, Ramiro, at the sight -of the pyre. -</p> - -<p> -<span class="spk">Ramiro.</span> Has Your Honor not come to await -the arrival of this creature? -</p> - -<p> -<span class="spk">Enrique.</span> Guilty as she is, I have loved her -too well not to pity her. Tell Torillo to come -here and consult with me. (<span class="sc">Ramiro</span> <i>speaks in a -low tone to</i> <span class="sc">Torillo</span>. <i>The songs in the church -cease,</i> <span class="sc">Ramiro</span> <i>goes to the archers.</i> <span class="sc">Torilla</span> -<i>goes to</i> <span class="sc">Enrique</span> <i>in the foreground.</i>) Are you -the person who compels the condemned ones to -mount the pyres? -</p> - -<p> -<span class="spk">Torillo.</span> Yes, my lord, and I also light the -fires. -</p> - -<p> -<span class="spk">Enrique.</span> How can you sleep after doing such -work? -</p> - -<p> -<span class="spk">Torillo.</span> From habit. -</p> - -<p> -<span class="spk">Enrique.</span> You often save the victims from the -horror of being burned alive, do you not? -</p> - -<p> -<span class="spk">Torillo.</span> Yes, when the Holy Tribunal gives -orders to strangle them and attach them to the -stake! -</p> - -<p> -<span class="spk">Enrique.</span> You have not received such an order -for her? -</p> - -<p> -<span class="spk">Torillo.</span> No, my lord. -</p> - -<p> -<span class="spk">Enrique.</span> They tell me that the parents or -friends of the condemned frequently ask such a -favor of you? -</p> - -<p> -<span class="spk">Torillo.</span> It is true, my lord. -</p> - -<p> -<span class="spk">Enrique.</span> And do you consent to give it? -</p> - -<p> -<span class="spk">Torillo.</span> For charity. -</p> - -<p> -<span class="spk">Enrique.</span> And for your own advantage, also? -</p> - -<p> -<span class="spk">Torillo.</span> Those are my little profits. -</p> - -<p> -<span class="spk">Enrique.</span> That must be done for her.—What -price have you set upon such concessions? -</p> - -<p> -<span class="spk">Torillo.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> By whom? -</p> - -<p> -<span class="spk">Torillo.</span> By a woman-servant, she told me, in -the service of the condemned. -</p> - -<p> -<span class="spk">Enrique.</span> Aisha? -</p> - -<p> -<span class="spk">Torillo.</span> I do not know. -</p> - -<p> -<span class="spk">Enrique.</span> Has she paid you? -</p> - -<p> -<span class="spk">Torillo.</span> 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. -</p> - -<p> -<span class="spk">Enrique.</span> Yes! yes! I understand!—You -have consented? -</p> - -<p> -<span class="spk">Torillo.</span> I promised without fully deciding to -do so! But, now that Your Grace desires it -also—— -</p> - -<p> -<span class="spk">Enrique.</span> Ah! God, yes!—and you shall have -a thousand ducats tomorrow! -</p> - -<p> -<span class="spk">Torillo.</span> The bargain is concluded, señor. -</p> - -<p class="sdright"> -<i>He turns to go.</i> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Detaining him with a gesture</i>) -But how can you prove to me that you will keep -your promise? -</p> - -<p> -<span class="spk">Torillo.</span> Because the victim will not utter a -cry when I set fire to the pyre; if she restrains then -she is dead. -</p> - -<p> -<span class="spk">Enrique.</span> If she is unable to utter a cry, or -a groan, I will double the sum. -</p> - -<p> -<span class="spk">Torillo.</span> The bargain is settled, my lord. -</p> - -<p class="sdinfo"> -<i>He salutes and goes away.</i> <span class="sc">Enrique</span> <i>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.</i> -</p> - -<p> -<span class="spk">Enrique.</span> (<i>With eyes turned toward the upper -street</i>) Is that you, Oliveira?—Doña Joana? -</p> - -<p> -<span class="spk">Oliveira.</span> The same all of the time. (<i>The -distant noises are approaching.</i>) Here comes that -unfortunate woman. -</p> - -<p> -<span class="spk">Enrique.</span> Yes! it is she!—Ah, Oliveira, who -could believe, if she had not confessed it herself, -that this exquisite creature is a detestable magician? -</p> - -<p> -Oliviera. (<i>In a low voice</i>) Oh! her confessions! -(<span class="sc">Enrique</span>, <i>surprised, turns and looks at -him.</i>) 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! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Troubled</i>) Is it possible!—But -her confessions, her confessions? -</p> - -<p> -<span class="spk">Oliveira.</span> They wrung them from her when -they promised your freedom, her sorcery giving you -an excuse. -</p> - -<p> -<span class="spk">Enrique.</span> And when she cried to me: “It is -false! It is false!”—— -</p> - -<p class="sdright"> -<i>The sounds come nearer.</i> -</p> - -<p> -<span class="spk">Oliveira.</span> She, you see, had condemned herself -to the stake! -</p> - -<p> -<span class="spk">Enrique.</span> Oh! brute that I am!—I have not -understood! -</p> - -<p> -<span class="spk">Oliveira.</span> (<i>Trying to calm him</i>) Be careful! -Enrique. Must I be a coward!—I could hack -myself into pieces! -</p> - -<p> -<span class="spk">Oliveira.</span> (<i>Holding him</i>) In God’s name, do -nothing foolish! There remains one more chance -for you. -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Quickly</i>) Joana? -</p> - -<p> -<span class="spk">Oliveira.</span> Yes!—Be careful, or they will hear -us! -</p> - -<p class="sdinfo"> -<i>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.</i> <span class="sc">Calabazas</span>, -<span class="sc">Albornos</span>, <span class="sc">Ibarra</span> <i>and</i> <span class="sc">Molina</span> <i>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.</i> <span class="sc">Oliveira</span> <i>quickly leaves by one -of the streets.</i> <span class="sc">Enrique</span> <i>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</i> <span class="sc">Zoraya</span> <i>with -hands tied and dressed in san-benito.</i> <span class="sc">Gil -Andrès</span> <i>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.</i> -<span class="sc">Zoraya</span>, <i>escorted by</i> <span class="sc">Gil Andrès</span> <i>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.</i> -</p> - - -<h3> -Scene Three -</h3> - -<p class="sdintro_c"> -The same persons, <span class="sc">Zoraya</span>, <span class="sc">Calabazas</span>, <span class="sc">Albornos</span>, -<span class="sc">Ibarra</span>, <span class="sc">Molina</span>, afterward <span class="sc">Padilla</span>. -</p> - -<p class="sdintro_p3"> -<i>At a gesture from</i> <span class="sc">Calabazas</span>, <span class="sc">Zoraya</span> <i>stops, -the bells stop ringing, the mob becomes -quiet. Indistinct organ music is heard.</i> -</p> - -<p> -<span class="spk">Calabazas.</span> (<i>Standing at the head of the -steps</i>) 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. (<span class="sc">Torilla</span> <i>unties</i> -<span class="sc">Zoraya’s</span> <i>hand.</i>) And ask pardon for your -crimes from God, from the Church and from the -King. -</p> - -<p class="sdinfo"> -<span class="sc">Gil Andrès</span> <i>presents the torch to</i> <span class="sc">Zoraya</span>. -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Spurning the torch</i>) Ask pardon -yourself, priest, for the crime which you are about -to commit. -</p> - -<p class="sdright"> -<i>Murmurs from the crowd and the priests.</i> -</p> - -<p> -<span class="spk">Calabazas.</span> (<i>To</i> <span class="sc">Gil Andrès</span>) Do your -duty! -</p> - -<p class="sdinfo"> -<i>When</i> <span class="sc">Gil Andrès</span> <i>and his men attempt to -lead</i> <span class="sc">Zoraya</span> <i>away</i> <span class="sc">Enrique</span> <i>rushes into -the scene. All stop instantly when</i> <span class="sc">Padilla</span>, -<i>in the church, cries</i> “Wait!” <i>He enters.</i> -</p> - - -<h3> -Scene Four -</h3> - -<p class="sdintro_c"> -The same persons, <span class="sc">Padilla</span>, <span class="sc">Enrique</span> -</p> - -<p> -<span class="spk">Padilla.</span> (<i>Coming quickly out of the church -with</i> <span class="sc">Enrique</span>) Stop! (<i>The organ ceases to -play. Songs of young girls are heard in the -church.</i>) Is it you, sorceress, who have plunged -my daughter into this awful sleep from which even -the prayers of the church cannot rouse her? -</p> - -<p> -<span class="spk">Zoraya.</span> It is I! (<i>Exclamations from the -crowd.</i>) And I alone can bring her out of it. -</p> - -<p class="sdright"> -<i>More exclamations from the crowd.</i> -</p> - -<p> -<span class="spk">Padilla.</span> Do it then, demon! -</p> - -<p> -<span class="spk">Zoraya.</span> Obey you?—No! -</p> - -<p> -<span class="spk">Padilla.</span> I will force you to do it! -</p> - -<p> -<span class="spk">Zoraya.</span> You cannot burn me twice! -</p> - -<p> -<span class="spk">Padilla.</span> Ah! wretch! -</p> - -<p> -<span class="spk">Zoraya.</span> 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. -</p> - -<p class="sdinfo"> -<i>Murmurs of indignation from the crowd.</i> -<span class="sc">Zoraya</span> <i>makes a movement to go to the -stake.</i> -</p> - -<p> -<span class="spk">Padilla.</span> (<i>Descending the steps furiously</i>) -Seize her! (<i>The gaolers move toward her.</i>) No! -Wait! (<i>He motions them back.</i>) Wait! (<i>To</i> -<span class="sc">Zoraya</span>.) Ah! Wretch, I am at your mercy!—Is -it a pardon and freedom that you want? -</p> - -<p> -<span class="spk">Zoraya.</span> No! life would be only full of sorrow -for me! I prefer death, which will give me an -opportunity for revenge! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Standing between</i> <span class="sc">Zoraya</span> <i>and the -pyre</i>) 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! -</p> - -<p> -<span class="spk">Zoraya.</span> Ah! poor man, who implores of me -a favor for this official—if you could know—— -</p> - -<p> -<span class="spk">Enrique.</span> (<i>In a low voice</i>) I know all!—— -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Looking into his eyes, trembling</i>) -Oh! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Tenderly</i>) All!—And it is for -the life of this innocent girl that I want your own—Zoraya! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Moved by his accent</i>) Ah! that -word is enough!—This time I have recognized your -voice!—Very well, if the governor promises to pardon -me. -</p> - -<p> -<span class="spk">Padilla.</span> Absolutely! -</p> - -<p> -<span class="spk">Zoraya.</span> On your oath! -</p> - -<p class="sdright"> -<i>Mutterings from the crowd.</i> -</p> - -<p> -<span class="spk">Padilla.</span> Before God! -</p> - -<p class="sdright"> -<i>Louder mutterings.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> I am ready! -</p> - -<p> -<span class="spk">Enrique.</span> Come, then! -</p> - -<p class="sdinfo"> -<i>He turns to enter the church. The Inquisitors -at the entrance bar his way.</i> -</p> - -<p> -<span class="spk">Calabazas.</span> The sorceress cannot cross the -threshold of the church! -</p> - -<p> -<span class="spk">Padilla.</span> Very well!—They can bring my child -here! -</p> - -<p> -<span class="spk">Calabazas and the Inquisitors.</span> Governor—— -</p> - -<p> -<span class="spk">Padilla.</span> I will be obeyed! -</p> - -<p class="sdinfo"> -<i>He starts for the doorway.</i> <span class="sc">Enrique</span> <i>rushes -into the church.</i> <span class="sc">Calabazas</span> <i>and the other -Inquisitors surround</i> <span class="sc">Padilla</span>, <i>while</i> <span class="sc">Zoraya</span> -<i>removes her cloak.</i> -</p> - -<p> -<span class="spk">Calabazas.</span> Padilla!—Such a bargain with this -woman! -</p> - -<p> -<span class="spk">Albornos.</span> It is a compact with a demon! -</p> - -<p> -<span class="spk">Padilla.</span> My daughter! I want my daughter! -</p> - -<p> -<span class="spk">Molina.</span> Do you want her before going to -Hell, yourself? -</p> - -<p> -<span class="spk">Padilla.</span> If that is the price!—Give her to -me! -</p> - -<p> -<span class="spk">Ibarra.</span> There goes the salvation of your soul! -</p> - -<p> -<span class="spk">Padilla.</span> The salvation of my daughter! -</p> - -<p> -<span class="spk">Calabazas.</span> It were better that she should -die! -</p> - -<p> -<span class="spk">Padilla.</span> Ah! priests, you have no children! -But the King is a father, he—he will understand -me! -</p> - -<p class="sdinfo"> -<i>Four girls from the convent of Mercy come -out of the church followed by two nuns,</i> -<span class="sc">Enrique</span> <i>and</i> <span class="sc">Fatoum</span>, <i>conducting lackeys -wearing</i> <span class="sc">Padilla’s</span> <i>livery, who carry a -kind of easy chair in which</i> <span class="sc">Joana</span> <i>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</i> <span class="sc">Fatoum</span> <i>and</i> <span class="sc">Padilla</span> <i>on -their knees, are under the portal. To the -right, at the entrance of the alley, are</i> <span class="sc">Aisha</span> -<i>and</i> <span class="sc">Zaguir</span>, <i>who witnessed</i> <span class="sc">Zoraya’s</span> <i>arrival.</i> -<span class="sc">Zoraya</span> <i>stands on the steps behind</i> -<span class="sc">Joana</span> <i>and raises her face to the crowd. -They see the young girl pale as death, her -eyes closed.</i> <span class="sc">Enrique</span> <i>stands at the left, -apart from the others.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Putting her fingers on</i> <span class="sc">Joana’s</span> <i>eyelids, -then upon her head</i>) Joana! Joana! (<span class="sc">Joana</span> -<i>moves.</i> <span class="sc">Zoraya</span> <i>breathes on her forehead.</i>) -Awaken! (<i>With authority.</i>) I want you to!—(<span class="sc">Joana</span> -<i>moves with effort and opens her eyes. -Murmurs from the assistants.</i>) Arise! -</p> - -<p class="sdinfo"> -<i>With</i> <span class="sc">Zoraya’s</span> <i>aid</i> <span class="sc">Joana</span> <i>raises herself, puts -her feet on the ground and stands. Clamors -of admiration from the crowd.</i> <span class="sc">Joana</span> -<i>looks about with surprise.</i> -</p> - -<p> -<span class="spk">Joana.</span> Where am I? (<i>She sees</i> <span class="sc">Zoraya</span>.) -The Mooress!—Fatoum!—My sisters! -</p> - -<p> -<span class="spk">Padilla.</span> Joana! -</p> - -<p> -<span class="spk">Joana.</span> My father! -</p> - -<p class="sdinfo"> -<i>She throws herself into his arms. Exclamations -from the crowd.</i> -</p> - -<p> -<span class="spk">The People.</span> A miracle! A miracle! -</p> - -<p> -<span class="spk">Calabazas.</span> (<i>Forcibly</i>) Silence, people! -(<i>The crowd is intimidated.</i>) No miracle is performed -by Satan! -</p> - -<p> -<span class="spk">Padilla.</span> (<i>At the head of the steps</i>) Go and -thank God! (<i>He places</i> <span class="sc">Joana</span> <i>in the hands of -the nuns, who conduct her into the church. He -turns to</i> <span class="sc">Zoraya</span>.) Go in peace, Zoraya! And -all of you let the Mooress depart. She is free! -(<i>To</i> <span class="sc">Ramiro</span>.) Ramiro, see her safely home! -</p> - -<p class="sdinfo"> -<i>He enters the church followed by the Inquisitors. -The organs intone the Te Deum.</i> -<span class="sc">Enrique</span>, <i>under the portal, exchanges a -look of farewell with</i> <span class="sc">Zoraya</span>, <i>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.</i> <span class="sc">Zoraya</span> <i>turns to leave by the other -street, but other monks quickly prevent her. -All round her is a line of monks.</i> -</p> - -<p> -<span class="spk">A Monk.</span> Christians! are you going to let this -daughter of Hell go free? -</p> - -<p> -<span class="spk">All.</span> No! No! -</p> - -<p class="sdinfo"> -<i>They crowd upon</i> <span class="sc">Zoraya</span>, <i>who retreats toward -the church.</i> <span class="sc">Enrique</span>, <i>who has seen -the movement and heard the words, steps -between her and the monks.</i> -</p> - -<p> -<span class="spk">Enrique.</span> Out of here, monks!—Make way! -</p> - -<p> -<span class="spk">The Monks.</span> No! No! Seize the sorceress! -</p> - -<p> -<span class="spk">The Crowd.</span> Upon the sorceress! -</p> - -<p class="sdinfo"> -<i>The departing crowd, stopped by the movements -of the monks, makes a threatening -circle, which advances upon</i> <span class="sc">Enrique</span> <i>and</i> -<span class="sc">Zoraya</span>, <i>who retreat toward the portal of -the church.</i> -</p> - -<p> -<span class="spk">Enrique.</span> You cowardly wretches! -</p> - -<p class="sdinfo"> -<i>He draws his sword, which checks them for -an instant.</i> -</p> - -<p> -<span class="spk">A Monk.</span> Palacios! You will not go free a -second time! -</p> - -<p> -<span class="spk">Enrique.</span> Ramiro! Arias! My archers, help -me! -</p> - -<p class="sdinfo"> -<i>Instead of responding to</i> <span class="sc">Enrique’s</span> <i>call for -assistance,</i> <span class="sc">Ramiro</span>, <span class="sc">Arias</span> <i>and the archers -join the crowd and shout.</i> -</p> - -<p> -<span class="spk">All.</span> (<i>Encouraged by this move</i>) To the -stake! To the stake with the sorceress! -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Taking refuge above the steps of the -church, then under the portal</i>) They will kill -you—Save yourself! -</p> - -<p> -<span class="spk">Enrique.</span> (<i>Covering his retreat, sword in -hand</i>) Go into the church!—into the church! -</p> - -<p class="sdinfo"> -<span class="sc">Zoraya</span> <i>runs to the closed door, which she -shakes in vain.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> Open! Open for us! -</p> - -<p class="sdinfo"> -<i>No response is heard except singing and organ -music. The mob laughs.</i> -</p> - -<p> -<span class="spk">The Crowd.</span> (<i>Howling and drawing nearer</i>) -Death!—to the death! -</p> - -<p class="sdinfo"> -<span class="sc">Enrique</span> <i>meanwhile, facing his assailants, -finds himself on the steps.</i> <span class="sc">Zoraya</span> <i>is behind -him.</i> -</p> - -<p> -<span class="spk">Enrique.</span> Ah! Infamous villains! -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>Holding back the archers</i>) My -lord, we do not want to harm you, but give us -that woman! -</p> - -<p> -<span class="spk">Enrique.</span> No, ruffians! -</p> - -<p> -<span class="spk">The Crowd.</span> To the death! -</p> - -<p> -<span class="spk">A Man in the Crowd.</span> (<i>To</i> <span class="sc">Torillo</span>) Executioner, -prepare your pyre. We shall burn the -sorceress in spite of him! -</p> - -<p> -<span class="spk">The Crowd.</span> Yes! Yes! -</p> - -<p class="sdinfo"> -<i>All turn to look at</i> <span class="sc">Torillo</span> <i>and the stake.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Seeing no one looking at her and</i> -<span class="sc">Enrique</span>) Here they will kill both of us—Will -you not save yourself? -</p> - -<p> -<span class="spk">Enrique.</span> To me life among such brutes would -be horrible! -</p> - -<p> -<span class="spk">Zoraya.</span> Then a last kiss!—Give me your -lips!—— -</p> - -<p class="sdinfo"> -<i>She puts between her teeth the wax pill. Their -lips join.</i> <span class="sc">Torillo</span> <i>appears at the pyre, -torch in hand, amid shouts of approval from -the crowd, which turns menacingly towards</i> -<span class="sc">Zoraya</span> <i>and</i> <span class="sc">Enrique</span>. <i>Suddenly</i> <span class="sc">Enrique</span> -<i>falls and rolls down the steps of the church, -causing the mob to recoil with exclamations -of astonishment.</i> -</p> - -<p> -<span class="spk">Ramiro.</span> (<i>Seeing</i> <span class="sc">Zoraya</span>, <i>who has fallen, on -her knees beside</i> <span class="sc">Enrique</span>) To the stake with her! -The sorceress still lives! -</p> - -<p class="sdright"> -<i>He starts toward her.</i> -</p> - -<p> -<span class="spk">Zoraya.</span> (<i>Partly rising</i>) Too late, wild -beast! -</p> - -<p class="sdright"> -<i>She falls and dies.</i> -</p> - -<p> -<span class="spk">All.</span> To the stake with her body! To the -stake! -</p> - -<p class="end"> -(<i>Curtain</i>) -</p> - - - - - - - - - -<pre> - - - - - -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-h.htm or 54705-h.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. 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