ACT I

[As the Roman Interlude closes, the light passes from theground-circle to the middle stage, where Prospero—descendinghis throne with Ariel—moves toward the centre. While theyspeak together there, Caliban—coming from his cave—crawlspart way up the steps and lies flat, occasionally liftinghis head to listen.]PROSPEROSo, Ariel, I have harvested for theeThese orchards of mine art, and let thee tasteTheir varied fruitages, some that have ripenedIn climes auspicious, some that are part decayed.Now from three vineyards—Egypt, Greece, and Rome—I will distill a varicolored wineFor Caliban to drink. So, steeped in spirit,Haply he also shall see visions. HastThou learned by heart all that I whispered to thee?ARIELAll, Master.PROSPEROTell me part.ARIELYou will createOut of this world of art three scenes of vision.PROSPEROAnd who shall act them—say!ARIELMy Spirits shall;And I will be their Prologue.PROSPEROFor what purpose?ARIELTo tutor this beast.PROSPEROAnd why?ARIELThat he may growTo reverence Miranda, and forswear Setebos.PROSPEROSo! and to dispel the PowersOf Setebos, I have transformed his caveTo be her temple and my theatre.—Look![Prospero raises his staff toward the darkness that concealsthe background. As he does so, increasing light reveals therude, irregular contours of the cave of Setebos transformedto the architectural lines of a splendid proscenium, in theoblong of which the Cloudy Curtains shut off the inner stage.The idol of Setebos has vanished.While this transformation is taking place, the Spirit Choirsof Ariel appear above the proscenium, singing.]SPIRITS OF ARIELIn the same abode and cellWhere the Toad was wont to dwell,And the Tiger stretched his claw,We have built a shrine of Law:We have chosen the lair of hateTo love, imagine and create.Out of blood and dross,Out of Setebos,We are risen to showThe art of Prospero:Here within his head and heartOur souls are servants of his art.[Their appearances vanish above.]ARIELMost noble Master! Show me now behindThose cloudy curtains: How have you transformedThe cave within?PROSPEROCome; I will show thee how.[Prospero and Ariel pass through the curtains at thecentre and disappear within.Meanwhile Caliban, peering above the top step, staresin dumb awe at the changed scene. There he is hailedfrom below by the priest of Setebos, Lust, who comesforth from his cell and calls:]LUSTCaliban! Remember Setebos!CALIBAN[Starting, backs down the steps in scared pantomime.]Aye, Setebos! But I hear their watch-dogs bark:Bow-wow!I feel their tongue-bites yet—their torments.LUSTCaliban! Restore thy father’s temple.CALIBANYea, but my father had no feet to dance.Curse on their yellow sands! They sting my eyesStill wi’ their blindings. Blast ’em![He springs part way up the steps again.]LUSTCaliban!Restore the priests of Setebos!CALIBANHis priests!Nay, what if the cock sang—their chanticleerHisDiddle-diddle-dow! Burneth my spineStill with that crowing.[Reënter Prospero through the curtains.]LUSTHush! he comes again.I await thy call. Cry onCaligulaAnd I will come.[Lust goes in the cell.]PROSPERO[Calling within the curtains.]Now, Ariel, where art thou?Ariel!ARIEL[Stepping forth from behind the curtains, dressed inthe garb of Prologue, bows low.]Here, great Master! I am nowPrologus, at your service.PROSPERONay, not mineButhis. [Calling.]Come, Caliban: behold thy tutor.Behind these curtains he will show thee nowMore than thy nature dreams on. If thou obey himAnd learn mine art, thou shalt go free like him.If not, thou shalt be spitted on a toothMore sharp than Setebos. What sayest?CALIBAN[Cringing.]Lord,Art Cock o’ the world, and Caliban thy worm;Yea, only beggeth thee crow no more, nor setThy dancing dogs to bark at him.PROSPEROTush, fool:Wilt thou obey?CALIBANObeyeth both of you.PROSPEROThat’s well. Sit here and watch. Now, Ariel,Thy prologue: then reveal what lies behind.[Prospero mounts his throne, on the steps of which Calibansquats below him, watching and listening with growingcuriosity. At the centre, before the Cloudy Curtains,Ariel speaks.]ARIELFrom Egypt, by our Master’s art,Behold now, when these curtains part,A scene of fleeting pageantry:Behold where pale Mark AntonyHath fled his sore defeated shipsIn quest of Cleopatra’s lips,And turned the tides of war amissTo pawn a kingdom for a kiss.—So, by my Spirits’ acting, seeOf what strange stuff these humans be![Ariel retires within through the curtains, which then—tothe melodic dirge of flutes within—draw apart, disclosingthe inner stage, which depicts a scene of vivid Egyptiancoloring.]

PROSPEROSo, Ariel, I have harvested for theeThese orchards of mine art, and let thee tasteTheir varied fruitages, some that have ripenedIn climes auspicious, some that are part decayed.Now from three vineyards—Egypt, Greece, and Rome—I will distill a varicolored wineFor Caliban to drink. So, steeped in spirit,Haply he also shall see visions. HastThou learned by heart all that I whispered to thee?

ARIELAll, Master.

PROSPEROTell me part.

ARIELYou will createOut of this world of art three scenes of vision.

PROSPEROAnd who shall act them—say!

ARIELMy Spirits shall;And I will be their Prologue.

PROSPEROFor what purpose?

ARIELTo tutor this beast.

PROSPEROAnd why?

ARIELThat he may growTo reverence Miranda, and forswear Setebos.

PROSPEROSo! and to dispel the PowersOf Setebos, I have transformed his caveTo be her temple and my theatre.—Look!

[Prospero raises his staff toward the darkness that concealsthe background. As he does so, increasing light reveals therude, irregular contours of the cave of Setebos transformedto the architectural lines of a splendid proscenium, in theoblong of which the Cloudy Curtains shut off the inner stage.The idol of Setebos has vanished.While this transformation is taking place, the Spirit Choirsof Ariel appear above the proscenium, singing.]

SPIRITS OF ARIELIn the same abode and cellWhere the Toad was wont to dwell,And the Tiger stretched his claw,We have built a shrine of Law:We have chosen the lair of hateTo love, imagine and create.

Out of blood and dross,Out of Setebos,We are risen to showThe art of Prospero:Here within his head and heartOur souls are servants of his art.

[Their appearances vanish above.]

ARIELMost noble Master! Show me now behindThose cloudy curtains: How have you transformedThe cave within?

PROSPEROCome; I will show thee how.

[Prospero and Ariel pass through the curtains at thecentre and disappear within.Meanwhile Caliban, peering above the top step, staresin dumb awe at the changed scene. There he is hailedfrom below by the priest of Setebos, Lust, who comesforth from his cell and calls:]

LUSTCaliban! Remember Setebos!

CALIBAN[Starting, backs down the steps in scared pantomime.]Aye, Setebos! But I hear their watch-dogs bark:Bow-wow!I feel their tongue-bites yet—their torments.

LUSTCaliban! Restore thy father’s temple.

CALIBANYea, but my father had no feet to dance.Curse on their yellow sands! They sting my eyesStill wi’ their blindings. Blast ’em!

[He springs part way up the steps again.]

LUSTCaliban!Restore the priests of Setebos!

CALIBANHis priests!Nay, what if the cock sang—their chanticleerHisDiddle-diddle-dow! Burneth my spineStill with that crowing.

[Reënter Prospero through the curtains.]

LUSTHush! he comes again.I await thy call. Cry onCaligulaAnd I will come.

[Lust goes in the cell.]

PROSPERO[Calling within the curtains.]Now, Ariel, where art thou?Ariel!

ARIEL[Stepping forth from behind the curtains, dressed inthe garb of Prologue, bows low.]

Here, great Master! I am nowPrologus, at your service.

PROSPERONay, not mineButhis. [Calling.]Come, Caliban: behold thy tutor.Behind these curtains he will show thee nowMore than thy nature dreams on. If thou obey himAnd learn mine art, thou shalt go free like him.If not, thou shalt be spitted on a toothMore sharp than Setebos. What sayest?

CALIBAN[Cringing.]Lord,Art Cock o’ the world, and Caliban thy worm;Yea, only beggeth thee crow no more, nor setThy dancing dogs to bark at him.

PROSPEROTush, fool:Wilt thou obey?

CALIBANObeyeth both of you.

PROSPEROThat’s well. Sit here and watch. Now, Ariel,Thy prologue: then reveal what lies behind.

[Prospero mounts his throne, on the steps of which Calibansquats below him, watching and listening with growingcuriosity. At the centre, before the Cloudy Curtains,Ariel speaks.]

ARIELFrom Egypt, by our Master’s art,Behold now, when these curtains part,A scene of fleeting pageantry:Behold where pale Mark AntonyHath fled his sore defeated shipsIn quest of Cleopatra’s lips,And turned the tides of war amissTo pawn a kingdom for a kiss.—So, by my Spirits’ acting, seeOf what strange stuff these humans be!

[Ariel retires within through the curtains, which then—tothe melodic dirge of flutes within—draw apart, disclosingthe inner stage, which depicts a scene of vivid Egyptiancoloring.]

Against a background of deep blue sky, the barge[14]of Cleopatra lies moored at an ancient wharf:From the left, along the wharf, enters Mark Antony, attended by Soldiers and Populace in Roman and Egyptian garb.

Against a background of deep blue sky, the barge[14]of Cleopatra lies moored at an ancient wharf:

From the left, along the wharf, enters Mark Antony, attended by Soldiers and Populace in Roman and Egyptian garb.

ANTONYHark! the land bids me tread no more upon ’t;It is ashamed to bear me! Friends, come hither.I am so hated in the world, that IHave lost my way forever. I have a shipLaden with gold; take that, divide it; fly,And make your peace with Cæsar.ALLFly! Not we.ANTONYI have fled myself; and have instructed cowardsTo run and show their shoulders. Friends, be gone;I have myself resolv’d upon a courseWhich has no need of you; be gone....Nay, do so; for, indeed, I have lost command....[His followers depart, and Antony throws himselfdown on a buttress of the wharf.Meantime from the barge, Cleopatra—who haslooked on and listened—is led down to the landingby Charmian and her Attendants, behind whom Eros[a friend of Antony] follows.They approach Antony, who—absorbed in hisgrief—does not see them.]EROSNay, gentle madam, to him, comfort him....CHARMIANDo! Why, what else?CLEOPATRALet me sit down. O Juno![As Cleopatra sinks down near him, Antony—nowbeholding her—starts up with a cry of surprise andpassionate pain.]ANTONYNo, no, no; no, no!EROS[Pointing to Cleopatra’s piteous aspect.]See you here, sir?ANTONY[Hiding his face.]O fie, fie, fie!CHARMIAN[Bending over her.]Madam!EROS[Appealing to Antony.]Sir, sir,—ANTONYYes, my lord, yes; he at Philippi keptHis sword e’en like a dancer, while I struckThe lean and wrinkled Cassius; and ’twas IThat the mad Brutus ended ... yet now—No matter.[He sinks down again.]CLEOPATRA[Rising, to her Attendants.]Ah, stand by ... sustain me! O!EROSMost noble sir, arise; the queen approaches.Her head’s declin’d, and death will seize her, butYour comfort makes the rescue.ANTONY[Drawing still away, despairfully.]I have offended reputation,A most unnoble swerving.EROSSir, the queen![Cleopatra and Antony face each other—gazinginto each other’s eyes.]ANTONY[Suddenly crying out.]O, whither hast thou led me, Egypt? See,How I convey my shame out of thine eyesBy looking back what I have left behind’Stroy’d in dishonor.CLEOPATRAO my lord, my lord,Forgive my fearful sails! I little thoughtYou would have follow’d.ANTONYEgypt, thou knew’st too wellMy heart was to thy rudder tied by the strings,And thou shouldst tow me after. O’er my spiritThy full supremacy thou knew’st, and thatThy beck might from the bidding of the godsCommand me.CLEOPATRAO my pardon!ANTONYNow I mustTo the young man send humble treaties, dodgeAnd palter in the shifts of lowness; whoWith half the bulk o’ the world play’d as I pleased,Making and marring fortunes. You did knowHow much you were my conqueror; and thatMy sword, made weak by my affection, wouldObey it on all cause.CLEOPATRA[Touching his arm, clings to him.]Pardon, pardon!ANTONY[Overcome at her touch.]Fall not a tear, I say; one of them ratesAll that is won and lost. Give me a kiss.Even this repays me.... Wine!Bring wine, within there: wine! For fortune knowsWe scorn her most when most she offers blows.[He embraces Cleopatra.From the right slaves enter, bearing chalices andwine-beakers. With them come flutists and harpers,making festal music.Snatching from them a golden cup, Antony raisesit aloft with an impassioned gesture, returning thetriumphant smile of the Egyptian queen.]CLOSING, THE CLOUDY CURTAINSSHUT OFF THE SCENE.

ALLFly! Not we.

ANTONYI have fled myself; and have instructed cowardsTo run and show their shoulders. Friends, be gone;I have myself resolv’d upon a courseWhich has no need of you; be gone....Nay, do so; for, indeed, I have lost command....

[His followers depart, and Antony throws himselfdown on a buttress of the wharf.Meantime from the barge, Cleopatra—who haslooked on and listened—is led down to the landingby Charmian and her Attendants, behind whom Eros[a friend of Antony] follows.They approach Antony, who—absorbed in hisgrief—does not see them.]

EROSNay, gentle madam, to him, comfort him....

CHARMIANDo! Why, what else?

CLEOPATRALet me sit down. O Juno!

[As Cleopatra sinks down near him, Antony—nowbeholding her—starts up with a cry of surprise andpassionate pain.]

ANTONYNo, no, no; no, no!

EROS[Pointing to Cleopatra’s piteous aspect.]See you here, sir?

ANTONY[Hiding his face.]O fie, fie, fie!

CHARMIAN[Bending over her.]Madam!

EROS[Appealing to Antony.]Sir, sir,—

ANTONYYes, my lord, yes; he at Philippi keptHis sword e’en like a dancer, while I struckThe lean and wrinkled Cassius; and ’twas IThat the mad Brutus ended ... yet now—No matter.

[He sinks down again.]

CLEOPATRA[Rising, to her Attendants.]Ah, stand by ... sustain me! O!

EROSMost noble sir, arise; the queen approaches.Her head’s declin’d, and death will seize her, butYour comfort makes the rescue.

ANTONY[Drawing still away, despairfully.]I have offended reputation,A most unnoble swerving.

EROSSir, the queen!

[Cleopatra and Antony face each other—gazinginto each other’s eyes.]

ANTONY[Suddenly crying out.]

O, whither hast thou led me, Egypt? See,How I convey my shame out of thine eyesBy looking back what I have left behind’Stroy’d in dishonor.

CLEOPATRAO my lord, my lord,Forgive my fearful sails! I little thoughtYou would have follow’d.

ANTONYEgypt, thou knew’st too wellMy heart was to thy rudder tied by the strings,And thou shouldst tow me after. O’er my spiritThy full supremacy thou knew’st, and thatThy beck might from the bidding of the godsCommand me.

CLEOPATRAO my pardon!

ANTONYNow I mustTo the young man send humble treaties, dodgeAnd palter in the shifts of lowness; whoWith half the bulk o’ the world play’d as I pleased,Making and marring fortunes. You did knowHow much you were my conqueror; and thatMy sword, made weak by my affection, wouldObey it on all cause.

CLEOPATRA[Touching his arm, clings to him.]Pardon, pardon!

ANTONY[Overcome at her touch.]Fall not a tear, I say; one of them ratesAll that is won and lost. Give me a kiss.Even this repays me.... Wine!Bring wine, within there: wine! For fortune knowsWe scorn her most when most she offers blows.[He embraces Cleopatra.From the right slaves enter, bearing chalices andwine-beakers. With them come flutists and harpers,making festal music.Snatching from them a golden cup, Antony raisesit aloft with an impassioned gesture, returning thetriumphant smile of the Egyptian queen.]

CLOSING, THE CLOUDY CURTAINSSHUT OFF THE SCENE.

[Meantime Caliban, who has risen absorbed and drawn slowlynearer in child-like fascination, stands for an instant,bewildered. Then, with a cry, he leaps forward in the dim-litspace and gropes along the curtains with arms wide.]CALIBANHo, light! All’s smother: ’tis gone! Yo—yo, all gone—Cloud-swallowed, all! Ah, woman, snake-bright queen,Thou wonder-thing, come back! Ah, where—where—where?PROSPEROSo, so! Canst thou, then, taste my vision, slave?[He descends the throne toward Caliban.]CALIBAN[Staring about him.]O dazzle-blue, gold-shine, hot lotus smell!Blood-root in bloom, and scarlet water-weed!—O silver sight and tinkle-tickling sound!—Spurteth my body with joy—burst in my brainEnormous moons of wonder!—Float, still float,You purpling sails! Blaze, thou flame-woman! SpeakSparkles of kissing fire!PROSPERO[Approaching him.]Nay, art thou touchedBeyond thy tiger cravings?CALIBANHo, Lord Master,Lord Chanticleer, unswallow from thy gorgeThe world thou hast devoured!PROSPERO[Pointing toward Ariel, who comes forth again asPrologus through the curtains.]Ask of thy tutor;He hath revealed that world to thy brute ken.—Ariel, this lump of earth hath dreams within ’t,That now begin to sprout. Send it more sunAnd watering.ARIELSir, your art is rain and sun:I am but air, to carry its wet or warmthWhereso you list.PROSPEROSo let it fall on himTill he shall wax to a more worthy plantFor Miranda’s temple-garden.—Here is my Staff:This wields my power. Here keep it in thy chargeTill I return. So, use it as a rodTo instruct this bungling cub of Setebos.ARIEL[As Prospero goes.]I will, sir.—Go you far?PROSPERONo farther thanThe frontiers of mine art. Farewell a while![Prospero passes within through the curtains. Halfconfiding, half suspicious, Caliban comes near toAriel and questions him.]CALIBANArt, saith! What’s that—his art?ARIEL’Tis that which burnsNow in thy blood: the same which conjured hitherBright Egypt and the kiss of Antony.CALIBANThe woman and the kiss! Nay, saidest now’Tis rain and sun!ARIEL’Tis so.CALIBANWhere falleth his rain?Where shineth his sun?ARIELYonder on the Yellow Sands.CALIBANNay, show me this art! Is ’t hidden in thy hand?Here, letmehold the staff.[Caliban reaches for the staff; Ariel raises it warningly.]ARIELStay! Touch it notLest it shall scorch thy fingers and set fireTo the building world. The staff of ProsperoIs for his servants, not for slaves, to wield.CALIBAN[Drawing back from it, in fear.]Scorcheth my fingers, ah?—So wield it, thou!Show me once more the snake-bright queen.ARIELNay, EgyptNo more! But come with me to Prosper’s throneWhereIplay master now. Here thou shalt sitAnd watch the battlements of eternal TroyWhere Troilus woos inconstant Cressida.CALIBANShowest me once more—woman?ARIELEven so;For many kinds of woman make mankind.[Rising, Ariel points toward the inner stageand speaks chantingly.]Now, from out Time’s storied sphere,Homer’s Troy I summon here,On a dawn when Hector seeksBattle with the besieging Greeks:There, while heroes throng the gates,Cressida her lover ’waits,Casting from a height apartTangling hooks for Troilus’ heart.—Behold her now, by Prosper’s art![Ariel raises his staff.]

CALIBANHo, light! All’s smother: ’tis gone! Yo—yo, all gone—Cloud-swallowed, all! Ah, woman, snake-bright queen,Thou wonder-thing, come back! Ah, where—where—where?

PROSPEROSo, so! Canst thou, then, taste my vision, slave?[He descends the throne toward Caliban.]

CALIBAN[Staring about him.]O dazzle-blue, gold-shine, hot lotus smell!Blood-root in bloom, and scarlet water-weed!—O silver sight and tinkle-tickling sound!—Spurteth my body with joy—burst in my brainEnormous moons of wonder!—Float, still float,You purpling sails! Blaze, thou flame-woman! SpeakSparkles of kissing fire!

PROSPERO[Approaching him.]Nay, art thou touchedBeyond thy tiger cravings?

CALIBANHo, Lord Master,Lord Chanticleer, unswallow from thy gorgeThe world thou hast devoured!

PROSPERO[Pointing toward Ariel, who comes forth again asPrologus through the curtains.]

Ask of thy tutor;He hath revealed that world to thy brute ken.—Ariel, this lump of earth hath dreams within ’t,That now begin to sprout. Send it more sunAnd watering.

ARIELSir, your art is rain and sun:I am but air, to carry its wet or warmthWhereso you list.

PROSPEROSo let it fall on himTill he shall wax to a more worthy plantFor Miranda’s temple-garden.—Here is my Staff:This wields my power. Here keep it in thy chargeTill I return. So, use it as a rodTo instruct this bungling cub of Setebos.

ARIEL[As Prospero goes.]I will, sir.—Go you far?

PROSPERONo farther thanThe frontiers of mine art. Farewell a while!

[Prospero passes within through the curtains. Halfconfiding, half suspicious, Caliban comes near toAriel and questions him.]

CALIBANArt, saith! What’s that—his art?

ARIEL’Tis that which burnsNow in thy blood: the same which conjured hitherBright Egypt and the kiss of Antony.

CALIBANThe woman and the kiss! Nay, saidest now’Tis rain and sun!

ARIEL’Tis so.

CALIBANWhere falleth his rain?Where shineth his sun?

ARIELYonder on the Yellow Sands.

CALIBANNay, show me this art! Is ’t hidden in thy hand?Here, letmehold the staff.[Caliban reaches for the staff; Ariel raises it warningly.]

ARIELStay! Touch it notLest it shall scorch thy fingers and set fireTo the building world. The staff of ProsperoIs for his servants, not for slaves, to wield.

CALIBAN[Drawing back from it, in fear.]Scorcheth my fingers, ah?—So wield it, thou!Show me once more the snake-bright queen.

ARIELNay, EgyptNo more! But come with me to Prosper’s throneWhereIplay master now. Here thou shalt sitAnd watch the battlements of eternal TroyWhere Troilus woos inconstant Cressida.

CALIBANShowest me once more—woman?

ARIELEven so;For many kinds of woman make mankind.

[Rising, Ariel points toward the inner stageand speaks chantingly.]Now, from out Time’s storied sphere,Homer’s Troy I summon here,On a dawn when Hector seeksBattle with the besieging Greeks:There, while heroes throng the gates,Cressida her lover ’waits,Casting from a height apartTangling hooks for Troilus’ heart.—Behold her now, by Prosper’s art![Ariel raises his staff.]

The Cloudy Curtains draw back, revealing the battlements of Troy. Above, on a rampart, in the first rays of morning, CRESSIDA appears, with a maiden Attendant.Below, murmuring crowds are looking toward the outer gates. Among them pass the aged Trojan Queen, and the Greek Helen, in her younger beauty.

The Cloudy Curtains draw back, revealing the battlements of Troy. Above, on a rampart, in the first rays of morning, CRESSIDA appears, with a maiden Attendant.

Below, murmuring crowds are looking toward the outer gates. Among them pass the aged Trojan Queen, and the Greek Helen, in her younger beauty.

CRESSIDA[Peering below.]Who were those went by?ATTENDANTQueen Hecuba and Helen.CRESSIDAAnd whither go they?ATTENDANTUp to the eastern towerTo see the battle—Hector,Before the sun uprose, was harnessed lightAnd to the field goes he.[Enter behind them Pandarus.]CRESSIDAHector’s a gallant man.—[Turning to greet him.]Good morrow, Uncle Pandarus.PANDARUS[Smiling.]Good morrow, Cousin Cressid.[Trumpets are sounded, off left.]Hark! They are coming from the field. Shall westand up here and see them as they pass towardIlium?CRESSIDAAt your pleasure.[They move to a better vantage. At a gesturefrom Cressida the Attendant departs.]PANDARUSHere, here’s an excellent place. I’ll tell you themall by their names, as they pass by; but markTroilus above the rest.CRESSIDA[With a reproving laugh.]Speak not so loud.[Below, from the left, Trojan warriors, in battlegear, begin to pass by, through the admiringpopulace who cheer them occasionally.Among themÆNEAS PASSESPANDARUSThat’s Æneas: is not that a brave man? He’s oneof the flowers of Troy, I can tell you. But markTroilus; you shall see anon.ANTENOR PASSESCRESSIDAWho’s that?PANDARUSThat’s Antenor: he’s one o’ the soundest judgmentsin Troy. But when comes Troilus? I’ll showyou Troilus anon. If he sees me, you shall seehim nod at me.CRESSIDA[Archly.]Will he giveyouthe nod?PANDARUSYou shall see.CRESSIDAIf he do, the rich shall have more.HECTOR PASSESPANDARUSThat’s Hector: that, that, look you, that; there’s a fellow!Go thy way, Hector! There’s a brave man, niece.CRESSIDAO, a brave man!PANDARUSSwords! anything, he cares not; an the devil comes tohim, it’s all one. Yonder comes Paris—Paris!PARIS PASSESWho said he came hurt home to-day? He’s not hurt.Why, this will do Helen’s heart good now, ha! WouldI could see Troilus now! You shall see Troilus anon.HELENUS PASSESCRESSIDAWho’s that?PANDARUS[Searching with his eyes, grows impatiently expectant.]That’s Helenus.—I marvel where Troilus is.—That’sHelenus—I think he went not forth to-day.—That’sHelenus.CRESSIDACan Helenus fight, uncle?PANDARUSHelenus? no. Yes, he’ll fight indifferent well.—Imarvel where Troilus is. Hark! do you hear thepeople cry “Troilus?”TROILUS PASSES[As he approaches, the populace cheer him.His eyes, however, search about till they rest onthe battlement, where Cressida, returning his look,starts back, trembling.Noting both their actions, Pandarus continuesflauntingly to point out the young hero.]’Tis Troilus! There’s a man, niece. Hem! Brave Troilus!CRESSIDAPeace! For shame, peace!PANDARUSMark him: note him. O brave Troilus! Look wellupon him, niece; look you how his sword is bloodied,and his helm more hacked than Hector’s.O admirable youth! Go thy way, Troilus, go thyway! Had I a sister were a grace, or a daughter agoddess, he should take his choice. O admirableman! Paris? Paris is dirt to him.[While he is speaking, Cressida has taken from herhair a flower, knotted its stem to an arrow, anddropped the arrow beneath the rampart, where Troiluslifts it with a smile and happy gesture, bearing it awaywith him, right. As Pandarus now turns to her,Cressida looks away left and points to others below.]CRESSIDAHere comes more.MORE FORCES PASSPANDARUSAsses, fools, dolts! Chaff and bran! Porridge aftermeat! I could live and die i’ the eyes of Troilus.Ne’er look, ne’er look! the eagles are gone; crowsand daws, crows and daws! I had rather be sucha man as Troilus than Agamemnon and all Greece.[Enter, above, Troilus’ Boy, who speaks to Pandarus.]THE BOYSir, my lord Troilus would instantly speak with you.PANDARUSWhere?THE BOYAt your own house; there he unarms him.PANDARUSGood boy, tell him I come. [Exit Boy.]Fare ye well, good niece.[He goes off, above.]CRESSIDAAdieu, uncle![Below, the last of the soldiers and populace havepassed off, right, where Cressida gazes after them,speaking aloud to herself:]O more in Troilus thousandfold I seeThan in the glass of Pandar’s praise may be;Yet hold I off. Women are angels, wooing.Things won are done; joy’s soul lies in the doing.[Below, from the right, Troilus hastens back, alone.The arrow with the flower he has thrust through thelinks in his chain armor on his left side. Pointingto it, he calls up toward the battlement.]TROILUSCressida!CRESSIDA[With a glad cry.]Troilus![Unwinding her long wine-red scarf, she ties it tothe battlement, whence it flutters down to Troilus.Seizing it, he mounts by its aid toward the rampart,where the face of Cressida peers luringly above him.]TROILUS[Calling upward as he mounts.]Cressida![Just as he is about to reach Cressida,THE CLOUDY CURTAINS CLOSE.

CRESSIDA[Peering below.]Who were those went by?

ATTENDANTQueen Hecuba and Helen.

CRESSIDAAnd whither go they?

ATTENDANTUp to the eastern towerTo see the battle—Hector,Before the sun uprose, was harnessed lightAnd to the field goes he.[Enter behind them Pandarus.]

CRESSIDAHector’s a gallant man.—[Turning to greet him.]Good morrow, Uncle Pandarus.

PANDARUS[Smiling.]Good morrow, Cousin Cressid.[Trumpets are sounded, off left.]Hark! They are coming from the field. Shall westand up here and see them as they pass towardIlium?

CRESSIDAAt your pleasure.

[They move to a better vantage. At a gesturefrom Cressida the Attendant departs.]

PANDARUSHere, here’s an excellent place. I’ll tell you themall by their names, as they pass by; but markTroilus above the rest.

CRESSIDA[With a reproving laugh.]Speak not so loud.

[Below, from the left, Trojan warriors, in battlegear, begin to pass by, through the admiringpopulace who cheer them occasionally.Among themÆNEAS PASSES

PANDARUSThat’s Æneas: is not that a brave man? He’s oneof the flowers of Troy, I can tell you. But markTroilus; you shall see anon.ANTENOR PASSES

CRESSIDAWho’s that?

PANDARUSThat’s Antenor: he’s one o’ the soundest judgmentsin Troy. But when comes Troilus? I’ll showyou Troilus anon. If he sees me, you shall seehim nod at me.

CRESSIDA[Archly.]Will he giveyouthe nod?

PANDARUSYou shall see.

CRESSIDAIf he do, the rich shall have more.HECTOR PASSES

PANDARUSThat’s Hector: that, that, look you, that; there’s a fellow!Go thy way, Hector! There’s a brave man, niece.

CRESSIDAO, a brave man!

PANDARUSSwords! anything, he cares not; an the devil comes tohim, it’s all one. Yonder comes Paris—Paris!PARIS PASSES

Who said he came hurt home to-day? He’s not hurt.Why, this will do Helen’s heart good now, ha! WouldI could see Troilus now! You shall see Troilus anon.HELENUS PASSES

CRESSIDAWho’s that?

PANDARUS[Searching with his eyes, grows impatiently expectant.]That’s Helenus.—I marvel where Troilus is.—That’sHelenus—I think he went not forth to-day.—That’sHelenus.

CRESSIDACan Helenus fight, uncle?

PANDARUSHelenus? no. Yes, he’ll fight indifferent well.—Imarvel where Troilus is. Hark! do you hear thepeople cry “Troilus?”TROILUS PASSES[As he approaches, the populace cheer him.His eyes, however, search about till they rest onthe battlement, where Cressida, returning his look,starts back, trembling.Noting both their actions, Pandarus continuesflauntingly to point out the young hero.]

’Tis Troilus! There’s a man, niece. Hem! Brave Troilus!

CRESSIDAPeace! For shame, peace!

PANDARUSMark him: note him. O brave Troilus! Look wellupon him, niece; look you how his sword is bloodied,and his helm more hacked than Hector’s.O admirable youth! Go thy way, Troilus, go thyway! Had I a sister were a grace, or a daughter agoddess, he should take his choice. O admirableman! Paris? Paris is dirt to him.

[While he is speaking, Cressida has taken from herhair a flower, knotted its stem to an arrow, anddropped the arrow beneath the rampart, where Troiluslifts it with a smile and happy gesture, bearing it awaywith him, right. As Pandarus now turns to her,Cressida looks away left and points to others below.]

CRESSIDAHere comes more.MORE FORCES PASS

PANDARUSAsses, fools, dolts! Chaff and bran! Porridge aftermeat! I could live and die i’ the eyes of Troilus.Ne’er look, ne’er look! the eagles are gone; crowsand daws, crows and daws! I had rather be sucha man as Troilus than Agamemnon and all Greece.

[Enter, above, Troilus’ Boy, who speaks to Pandarus.]

THE BOYSir, my lord Troilus would instantly speak with you.

PANDARUSWhere?

THE BOYAt your own house; there he unarms him.

PANDARUSGood boy, tell him I come. [Exit Boy.]Fare ye well, good niece.[He goes off, above.]

CRESSIDAAdieu, uncle!

[Below, the last of the soldiers and populace havepassed off, right, where Cressida gazes after them,speaking aloud to herself:]

O more in Troilus thousandfold I seeThan in the glass of Pandar’s praise may be;Yet hold I off. Women are angels, wooing.Things won are done; joy’s soul lies in the doing.

[Below, from the right, Troilus hastens back, alone.The arrow with the flower he has thrust through thelinks in his chain armor on his left side. Pointingto it, he calls up toward the battlement.]

TROILUSCressida!

CRESSIDA[With a glad cry.]Troilus!

[Unwinding her long wine-red scarf, she ties it tothe battlement, whence it flutters down to Troilus.Seizing it, he mounts by its aid toward the rampart,where the face of Cressida peers luringly above him.]

TROILUS[Calling upward as he mounts.]Cressida![Just as he is about to reach Cressida,

THE CLOUDY CURTAINS CLOSE.

[At the centre Caliban now leaps up in loud, excitedlaughter. Clapping his hands in the air, hestrides toward Ariel on the throne.]CALIBANAha! Troy, Troy! Lips of Troyland and Egypt!Lovers in links of gold! Ho, wine of womanBubbling in vats of war!—drinketh you allCaliban, Caliban, son of Setebos.—Ariel,Learnest me Art? Lo, now:Iam his Artist!Tell him, Lord Prospero, Caliban createthGlories more ’stounding still. Art? Ho, ’tis God’s play!Butme? Am God i’ the mire: can make me TroyAnd purple Egypt out of the mud i’ my palm;Giveth me only that—his little play stick[Pointing to the staff in Ariel’s hand.]To stir in the mud withal.ARIELNot yet!—This staffIs wrought to stir the spirits of the air,Not dabble i’ the slime.CALIBANWhy so? From bog-slime bloomethThe lotus, and the sea-lark feedeth her youngAlong the salt flats.—[With childish wheedling.]Prithee—the staff?ARIEL[Descending the throne.]’Twould burn thee.Touch not till thou art free. Yet patience, monster,For thou hast learned to answer well, and growestRarely in thought and speech.CALIBAN[Tickled to laughter.]Yea, clever monsterSoon groweth monstrous clever. More art, fine Ariel!Let Caliban speak thy Prologue.ARIELHush!—Miranda![From her shrine Miranda comes forth, with the Muses.Seeing the two, she pauses astonished.]MIRANDANay!—Is this Ariel?ARIEL’Tis I—Prologus.Will you hear me, Mistress?MIRANDA[As Caliban approaches.]Thou!—thou, Caliban!ARIELMy pupil.CALIBAN[With confiding assurance.]Liketh well thy father’s art,Spring-i’-the-air.MIRANDAGod speed thy learning, monster!I am more fain to help thee in that taskThan all else in the world.CALIBAN[Astonished and eager.]Wouldst help me—thou?MIRANDAHow happy, if I could!CALIBANYea, canst thou!—Hark:[Glancing from his garb to Ariel’s.]Let me wear glory, too! What booteth meTo be his Artist, if I wear no clothTo show my glory? He there talketh no PrologueWithout his toga. Tog me, too, in braveColors!MIRANDAWell thought on.[To one of the Muses.]Quick, Euterpe: FetchBright vesture forth.ARIELFor Caliban?MIRANDAFor whomSo fit? The need of beauty liesMost near to them who lack it.[Euterpe returns, bringing bright garments, which she andthe other Maidens help now to put upon Caliban.]So, dear Muses:Lay on!CALIBAN[Delightedly tries to survey himself.]Ha, Sycorax, an thou wert here nowTo look on this thy son![He parades, with swelling pleasure, before the Muses.]Gaze well, good Spirits!Now, Ariel, thy pupil soon shall teach theeWhat thing this Art is: yea, teach ProsperoA lesson in ’s own lore.MIRANDA[To Ariel, who is about to protest.]Pray, let him tarryThis time with us. He is too full of dreamsTo act us harm. Speak on thy Prologue.CALIBAN[Still parading.]Prologue!Aye, good:myPrologue shall come after.ARIELMistress,Keep here, this staff for your protection.[Accepting the staff from Ariel, Miranda takes seat onthe shrine, where the Muses range themselves about her.]MIRANDASo!Be near us, Caliban.CALIBAN[Moving to the shrine steps, speaks to Ariel.]What showest now?ARIEL[At centre, before the curtains.]Now, in Time’s emblazoned tomeEgypt, Greece, turn page for Rome.CALIBAN[Mutters aloud.]Rome, ha! I’ll show you Rome!ARIELRocked by mighty Cæsar’s fallGlooms the world in battle pall,Where by midnight, worn and spent,Weary Brutus, in his tent,Watches ’mid the Roman host.There the pallid Cæsar’s ghostRises from his candle-flameAccusing.—Who shall bear that blame?Can Brutus wake a world from shame?[Ariel disappears through the curtains.Miranda raises the staff.]

[At the centre Caliban now leaps up in loud, excitedlaughter. Clapping his hands in the air, hestrides toward Ariel on the throne.]

CALIBANAha! Troy, Troy! Lips of Troyland and Egypt!Lovers in links of gold! Ho, wine of womanBubbling in vats of war!—drinketh you allCaliban, Caliban, son of Setebos.—Ariel,Learnest me Art? Lo, now:Iam his Artist!Tell him, Lord Prospero, Caliban createthGlories more ’stounding still. Art? Ho, ’tis God’s play!Butme? Am God i’ the mire: can make me TroyAnd purple Egypt out of the mud i’ my palm;Giveth me only that—his little play stick[Pointing to the staff in Ariel’s hand.]To stir in the mud withal.

ARIELNot yet!—This staffIs wrought to stir the spirits of the air,Not dabble i’ the slime.

CALIBANWhy so? From bog-slime bloomethThe lotus, and the sea-lark feedeth her youngAlong the salt flats.—[With childish wheedling.]Prithee—the staff?

ARIEL[Descending the throne.]’Twould burn thee.Touch not till thou art free. Yet patience, monster,For thou hast learned to answer well, and growestRarely in thought and speech.

CALIBAN[Tickled to laughter.]Yea, clever monsterSoon groweth monstrous clever. More art, fine Ariel!Let Caliban speak thy Prologue.

ARIELHush!—Miranda!

[From her shrine Miranda comes forth, with the Muses.Seeing the two, she pauses astonished.]

MIRANDANay!—Is this Ariel?

ARIEL’Tis I—Prologus.Will you hear me, Mistress?

MIRANDA[As Caliban approaches.]Thou!—thou, Caliban!

ARIELMy pupil.

CALIBAN[With confiding assurance.]Liketh well thy father’s art,Spring-i’-the-air.

MIRANDAGod speed thy learning, monster!I am more fain to help thee in that taskThan all else in the world.

CALIBAN[Astonished and eager.]Wouldst help me—thou?

MIRANDAHow happy, if I could!

CALIBANYea, canst thou!—Hark:[Glancing from his garb to Ariel’s.]Let me wear glory, too! What booteth meTo be his Artist, if I wear no clothTo show my glory? He there talketh no PrologueWithout his toga. Tog me, too, in braveColors!

MIRANDAWell thought on.[To one of the Muses.]Quick, Euterpe: FetchBright vesture forth.

ARIELFor Caliban?

MIRANDAFor whomSo fit? The need of beauty liesMost near to them who lack it.

[Euterpe returns, bringing bright garments, which she andthe other Maidens help now to put upon Caliban.]

So, dear Muses:Lay on!

CALIBAN[Delightedly tries to survey himself.]

Ha, Sycorax, an thou wert here nowTo look on this thy son!

[He parades, with swelling pleasure, before the Muses.]

Gaze well, good Spirits!Now, Ariel, thy pupil soon shall teach theeWhat thing this Art is: yea, teach ProsperoA lesson in ’s own lore.

MIRANDA[To Ariel, who is about to protest.]Pray, let him tarryThis time with us. He is too full of dreamsTo act us harm. Speak on thy Prologue.

CALIBAN[Still parading.]Prologue!Aye, good:myPrologue shall come after.

ARIELMistress,Keep here, this staff for your protection.

[Accepting the staff from Ariel, Miranda takes seat onthe shrine, where the Muses range themselves about her.]

MIRANDASo!Be near us, Caliban.

CALIBAN[Moving to the shrine steps, speaks to Ariel.]What showest now?

ARIEL[At centre, before the curtains.]Now, in Time’s emblazoned tomeEgypt, Greece, turn page for Rome.

CALIBAN[Mutters aloud.]Rome, ha! I’ll show you Rome!

ARIELRocked by mighty Cæsar’s fallGlooms the world in battle pall,Where by midnight, worn and spent,Weary Brutus, in his tent,Watches ’mid the Roman host.There the pallid Cæsar’s ghostRises from his candle-flameAccusing.—Who shall bear that blame?Can Brutus wake a world from shame?

[Ariel disappears through the curtains.Miranda raises the staff.]

The Cloudy Curtains part, disclosing the tent of Brutus, by moonlight.Brutus—his outer armor laid aside—sits on a couch: near him Lucius, a boy, nods drowsily over a stringed instrument. After a brief pause, Brutus—gazing at him—speaks wistfully:

The Cloudy Curtains part, disclosing the tent of Brutus, by moonlight.

Brutus—his outer armor laid aside—sits on a couch: near him Lucius, a boy, nods drowsily over a stringed instrument. After a brief pause, Brutus—gazing at him—speaks wistfully:

BRUTUSBear with me, good boy:Canst thou hold up thy heavy eyes awhileAnd touch thy instrument a strain or two?LUCIUSAye, my lord, an’t please you.BRUTUSIt does, my boy:I should not urge thy duty past thy might;I know young bloods look for a time of rest.LUCIUSI have slept, my lord, already.BRUTUSIt was well done; and thou shalt sleep again;I will not hold thee long. If I do liveI will be good to thee.LUCIUS[Tuning his instrument, sings dreamily:]Fear no more the frown o’ the great;Thou art past the tyrant’s stroke.Care no more to clothe and eat;To thee the seed is as the oak.The sceptre, learning, physic, mustAll follow this and come to dust.[Lucius falls asleep.]BRUTUSThis is a sleepy tune. O murderous slumber,Lay’st thou thy leaden mace upon my boyThat plays thee music? Gentle knave, good-night;I will not do thee so much wrong to wake thee.—Let me see, let me see; is not the leaf turned downWhere I left reading? Here it is, I think.[The Ghost of Cæsar appears.]How ill this taper burns!—Ha! Who comes here?I think it is the weakness of mine eyesThat shapes this monstrous apparition.It comes upon me. Art thou anything?Art thou some god, some angel, or some devil,That makest my blood cold and my hair to stare?Speak to me what thou art.[In the darkness, dark ghostly shapes, hardly visible,appear to urge forward the dead Cæsar, who aloneis luminous.]THE GHOSTThy evil spirit, Brutus.BRUTUSWhy comest thou?THE GHOSTTo tell thee thou shalt see me at Philippi.BRUTUSWell; then I shall see thee again?THE GHOSTAye, at Philippi.BRUTUSWhy, I will see thee at Philippi, then.[The Ghost and the dim Shapes disappear.Brutus rises.]Now I have taken heart, thou vanishest:Ill spirit, I would hold more talk with thee.—[Calling aloud.]Boy, Lucius! Romans, Romans! Awake—awake!THE CLOUDY CURTAINS CLOSE

BRUTUSBear with me, good boy:Canst thou hold up thy heavy eyes awhileAnd touch thy instrument a strain or two?

LUCIUSAye, my lord, an’t please you.

BRUTUSIt does, my boy:I should not urge thy duty past thy might;I know young bloods look for a time of rest.

LUCIUSI have slept, my lord, already.

BRUTUSIt was well done; and thou shalt sleep again;I will not hold thee long. If I do liveI will be good to thee.

LUCIUS[Tuning his instrument, sings dreamily:]

Fear no more the frown o’ the great;Thou art past the tyrant’s stroke.Care no more to clothe and eat;To thee the seed is as the oak.The sceptre, learning, physic, mustAll follow this and come to dust.

[Lucius falls asleep.]

BRUTUSThis is a sleepy tune. O murderous slumber,Lay’st thou thy leaden mace upon my boyThat plays thee music? Gentle knave, good-night;I will not do thee so much wrong to wake thee.—Let me see, let me see; is not the leaf turned downWhere I left reading? Here it is, I think.

[The Ghost of Cæsar appears.]

How ill this taper burns!—Ha! Who comes here?I think it is the weakness of mine eyesThat shapes this monstrous apparition.It comes upon me. Art thou anything?Art thou some god, some angel, or some devil,That makest my blood cold and my hair to stare?Speak to me what thou art.

[In the darkness, dark ghostly shapes, hardly visible,appear to urge forward the dead Cæsar, who aloneis luminous.]

THE GHOSTThy evil spirit, Brutus.

BRUTUSWhy comest thou?

THE GHOSTTo tell thee thou shalt see me at Philippi.

BRUTUSWell; then I shall see thee again?

THE GHOSTAye, at Philippi.

BRUTUSWhy, I will see thee at Philippi, then.

[The Ghost and the dim Shapes disappear.Brutus rises.]

Now I have taken heart, thou vanishest:Ill spirit, I would hold more talk with thee.—[Calling aloud.]Boy, Lucius! Romans, Romans! Awake—awake!

THE CLOUDY CURTAINS CLOSE

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