Copyright, 1920, by Frank Shay.All rights reserved.
The Shepherd in the Distancewas first produced by the Washington Square Players, at the Bandbox Theatre, New York City, on the night of March 26, 1915, with the following cast:
The PrincessFrances Paine.The AttendantBeatrice Savelli.The ShepherdRobert Locher.The WazirArvid Paulson.The VizierJohn Alan Houghton.Ghurri-wurri[the Beggar]Harry Day.The GoatE. J. Ballantine.Slaves of the Princess{Josephine Niveson.Edwina Behre.The Maker of SoundsRobert Edwards.
Produced under the direction of William Pennington. Scenes and costumes designedby Robert Locker.
THE PERSONS:The Princess.The Attendant.The Slaves.The Wazir[her guardian].The Vizier.The Nubian.The Shepherd.The Goat.Ghurri-wurri.The Maker of Sounds.
The Shepherd in the Distanceis published for the first time. The editors are indebted to Mr. Holland Hudson for permission to include it in this volume. The professional and amateur stage rights on this pantomime are strictly reserved by the author. Applications for permission to produce the pantomime should be made to Frank Shay, Care Stewart & Kidd Company, Cincinnati, Ohio.
I. The Princess beholds The Shepherd in the Distance and goes in quest of him.II. Ghurri-Wurri, enraged by the Princess' meager alms, swears vengeance.III. He reveals her destination to the Wazir.IV. Pursuit ensues.V. The Princess meets The Shepherd in the Distance. Her capture is averted by the faithful Goat.VI. The Goat's long head evolves a means of rescuing The Shepherd from the cruel Wazir.VII. The Princess joins The Shepherd in the Distance.
Of the Princess, we know only that she was fair and slender as the lily, that somehow the fat and stupid Wazir became her guardian, and that he neglected her utterly and played chess eternally in the garden with his almost-equally-stupid Vizier. Is it any wonder she was bored?
One afternoon the Princess called for her ivory telescope, and, placing it to her eye, sought relief from the deadly ennui which her guardian caused. In the Distance she discerned a Shepherd, playing upon his pipe for the dancing of his favorite Goat. While he played the Princess marveled at his comeliness. She had never seen before a man so pleasing in face and person. At the end of his tune it seemed to her that the Shepherd turned and beckoned to her. She dared watch him no longer, lest her guardian observe her.
When the Wazir, the Vizier and the Nubian were deep in their afternoon siesta, the Princess stole out of the garden with her personal retinue and her small, but precious hope chests, and set forth toward the Distance.
Now on the highway between the foreground and the Distance lived a wretched and worthless beggar who had even lost his name and was called Ghurri-Wurri because he looked absolutely as miserable as that. He pretended to be blind and wore dark spectacles. The greatest affliction of his life was that his dark spectacles prevented him from inspecting the coins that fell in his palm, and he received more than his share of leaden counterfeits.
When Ghurri-Wurri observed the approach of the Princess and her retinue he reasoned from the richness of their attire that alms would be plentiful and large and he fawned and groveled before them. The Princess was generous, but she was also in haste, so bade her attendant give him the first coin that came to hand, and hurried on.
Ghurri-Wurri's rage knew no bounds. He wept, he stamped, he shook his fists, he railed, and he cursed. Then, perceiving the Princess' destination, he made haste to notify her guardian. The Wazir would not believe him at first and the beggar would have lost his head if he had not happened on the Princess' telescope and placed it in the Wazir's hand.
Gazing toward the Distance, the Wazir saw the Princess and her retinue nearing their destination. He lost his temper and did all of the undignified things which Ghurri-Wurri had done. Then, with the Vizier and the Nubian, he set forth in pursuit, forcing the reluctant Ghurri-Wurri to guide them. They ran like the wind, till the beggar gasped and staggered, only to be jerked to his feet and forced on by the implacable Vizier, who was cruel as well as stupid.
Meanwhile the Princess arrived in the Distance. The Shepherd, who was as wise as he was comely, had proper regard for her rank and danced in her honor to his own piping. They had scarcely spoken to each other when the faithful Goat warned them of the furious approach of the raging Wazir. The Goat carried the Princess to a place of safety on his back while the Shepherd stayed to delay her pursuers. Of the Nubian he made short work indeed, but the Vizier overcame him with his great scimiter and they led him captive to the garden, leaving Ghurri-Wurri cursing on the sands.
Arrived at the garden, the Wazir ordered the Shepherd bound in chains and went on with his chess game. The Shepherd, in a gesture of despair, came upon the Princess' telescope and, seeking some ray of hope, gazed into the Distance. Here he saw the Princess and his faithful Goat, who, he perceived, had invented a plan for his deliverance.
Soon the Princess returned to the garden, disguised as a wandering dancer. She danced before the Wazir and pleased him so much that he bade her come nearer. She did so, and bound the Vizier's arms with a scarf, which so amused the Wazir that he laughed loud and long. Then she bound the Wazir's arms in the same manner and it was the Vizier's turn to laugh. Into their laughing mouths she thrust two poisoned pills so that in another instant they fell over, quite dead, amongst the chessmen.
The omnivorous Goat delivered the Shepherd from his chains with his strong teeth and they all returned to the Distance, where they still dwell in more-than-perfect bliss and may be discerned through an ivory telescope any fine afternoon.
[1]A synopsis for readers only.
[1]A synopsis for readers only.
In the original production by The Washington Square Players,The Shepherd in the Distancewas played in front of backgrounds of black velvet. The garden scene consisted of a black velvet drop about half-way between the curtain and back-wall, upon which a decorative white design merely suggesting the garden and its gate was appliquéd. This drop was made in three sections, the middle one hung on a separate set of lines so that it could be raised to show the "Distance" (as seen through the telescope) without disturbing the rest of the scene.
The "Distance" consisted of a velvet drop hung slightly behind the middle section of the garden scene, on the middle of which two large, white concentric circles were appliquéd around a circular opening about five feet in diameter. The bottom of the opening was about eighteen inches above the stage. Behind this stood a platform just large enough to hold four characters at one time. Black masking drapes were provided at both sides of the stage and behind the platform.
The Prologue, Scenes II, IV, V, the first part of Scene VII and the Epilogue were all played before a plain velvet drop hung a few feet upstage of the curtain line.
The Shepherd in the Distancehas also been produced in colors very effectively by the Hollywood Community Theatre, at Hollywood, California. There is no reason why any highly decorative treatment of scenery and costuming will not enhance the production if it be well planned and consistent throughout.
The properties consist principally of a small chess table with most of the chessmen glued on, two stools, a telescope, a balloon and papier maché chain which are employed as a ball and chain, a very large Chinese crash cymbal for the stage manager's use, and such personal properties as occur in the text.
Whatever scheme is selected for the scenery, the costumes and make-up should be consistent with it. In the original production, all of the characters but the Nubian were made up completely with clown white or "Plexo," the eyebrows and eyes outlined in black and mouths rouged but slightly. No unwhitened flesh was visible at all.
The Princess wore a white satin pseudo-Oriental costume with stiff ruffs at the collar, wrists and knees, the trousers not gathered at the ankles, a flat close-fitting turban with a number of ornaments and a hanging veil, and white slippers. In the dance in Scene VI she used a long black gauze scarf and a white one. Her attendant wore a similar costume of cheaper material, an unornamented turban and black slippers. Her slaves were also similarly garbed, in cotton, but with bulkier turbans, and baggy trousers, gathered at the ankles.
The Wazir, armed with a preposterous "corporation," wore baggy white trousers, gathered at the ankles, a sleeveless vest with wide, horizontal black-and-white stripes, a white cloak hanging from his shoulders which terminated in a large black tassel, a turban, a beard made of several lengths of black portière cord sewed to white gauze, and white pointed shoes. His bare arms were whitened, his eyebrows were short, thick and high up on his forehead, and he carried a black snuff-box.
The Vizier's white trousers were not so full as the Wazir's; his tight white vest had tight white sleeves; his cloak was shorter and without a tassel. His white turban, however, was decorated with antennæ of white milliner's wire. He affected high arching eyebrows, a long pointed nose, a drooping mustache, a disdainful mouth, carried a white wooden scimiter about four feet long with a black handle and wore bells on his pointed white shoes.
The Nubian wore black tights and shirt, black slippers and a white skull cap and breech-clout. The rest of him, excepting his eyes and mouth, which were whitened, was a symphony in burnt cork.
The Shepherd wore white, knee-length trunks, frayed at the ends, a little drapery about the upper man, slippers and a cap. His body was whitened profusely and he carried a tiny flute.
The Goat wore a white furry skin, horns, and foot and hand coverings resembling hoofs. His make-up approached the animal's face as nearly as possible.
Ghurri-Wurri wore tattered white baggy trousers, vest and cloak, a turban and black goggles.
The Maker of Sounds was garbed in an all-enveloping white burnous and a white skull cap.
Left and right, in this text, refer to the actor's, not the spectator's, point of view. The action of the piece is meant to be two-dimensional; the actors are to perform in profile as far as possible; except when registry of facial expression is important the action should be parallel with the back drop.
The entire action must be rhythmical and the rhythms should be used as definite themes, one for the Princess and her retinue, another for the Wazir, etc. The performance should be extremely rapid and must never drag. The cast should direct special attention to the comic features, and the director to the pictorial elements of the piece. The director may consider the performance as an animated poster which moves rapidly from design to design.
A Pantomime
By Holland Hudson
[The curtain rises on a plain drop curtain. The Maker of Sounds enters with his arms full of instruments, crosses the scene and sits with his back against one side of the proscenium, outside the curtain line. He tries out all his instruments, wind, string, percussion and "traps." He yawns. He becomes impatient and raps on the stage.]
Cymbal CrashThe lights go outThe drop is lifted in the darknessCymbal CrashThe lights are turned on
[The Wazir's garden. Discovered left to right, the Nubian, standing with folded arms, the Vizier, seated at the chess table, playing with the Wazir. At the other side of the stage, the Princess, her attendant, her two slaves. All stand motionless until set in action by the Maker of Sounds.]
The MusicThe Pantomime,etc.Tap—on Chinese wood blockNubianunfolds his armsTapHe salaamsTapResumes original poseTapViziermoves a chessmanTapWazirmoves a chessmanTapViziermoves a chessmanTapWazirpicks upsnuff-boxTapOpens itTapOffers Vizier snuffTapViziertakes a pinchSand blocksSniffs itDrum crashViziersneezesDrum crashSneezes againNo soundSneezes againNubiansneezes synchronously with Vizier's paroxysmsTapVizierreturns snuff-boxTapWazirputs it awayBellPrincessyawnsTapSignals her attendantTapAttendantpicks up telescopeTapHands it to PrincessWind instrumentPrincessuses telescope[The middle portion of the back drop is lifted to show the "Distance" in which theShepherdis discovered piping for theGoat'sdancing.]Stringed instrumentThe Shepherdsees the Princess, stops piping, and declares his adoration across the distance. He beckons her to join him.Princesspromises to do so.[The lifted portion of the drop is lowered again. The "Distance" vanishes.]TapPrincesssignals to her retinueTapAttendantrelays the signalTapSlavesstoop.TapLift the hope chests to their shouldersBass chord on stringed instrumentPrincess and retinuetake one step downstageTreble chordAll lean forward, watching WazirDrum crashWazirandVizierstand upDrum crashThey glare at PrincessTap on wood blockThey sitBass chordVizieryawnsBass chordWaziryawnsBass chordNubianyawnsBass chordViziernodsBass chordWazirnodsBass chordNubiandrops on one kneeTreble chordPrincess and retinuelean forwardBass chordThey take one step[A continuation of this business takes them off at the left]The lights go outCymbal crash[In the darkness.Princess and retinuecross to right of stage, ready for Scene II]The plain drop is loweredCymbal crashThe lights come up
Tambourine jinglesGhurri-Wurridiscovered above at center, with his dark glasses pushed up on his forehead, counting his money.Tap on piece of crockeryHe finds a bad coinSand blocksBites itTap crockeryThrows it awayBegins the Princess rhythms on Chinese wood blockHears thePrincess and retinueapproaching[Telegraphically expressed it is ... ... ... ... Musically, accented triplets, common time,presto]He pulls glasses over his eyesHe grovelsPrincess rhythm continuesPrincess and retinueenter from the rightThey pass by Ghurri-Wurri without pauseDrum crashGhurri-Wurriruns ahead and prostrates himself before the PrincessTapPrincess' retinuehaltsTapPrincesssignals to attendantTapAttendantsignals to nearest slaveTapSlaveproffers chestTap, Tap, TapAttendantopens it, takes coin, closes itTapGives coin to PrincessTap on crockeryPrincessdrops coin in beggar's handPrincess rhythmPrincess and retinueexit at the leftBegin drum rollpp. cresc. to ff.Ghurri-Wurrilooks at coin, scrambles to his feet, looks after Princess, shakes his fists, starts to the right, turns, shakes his fist again, exits at right, ragingCymbal crashLights outIn the darkness Ghurri-Wurri crosses to left of stage, ready for Scene IIIThe drop is liftedCymbal crashLights up
[The Wazir's Garden as in Scene I]
Bass chordsWazir,VizierandNubianasleep as beforeTap on drumGhurri-Wurrienters at the leftTap on drumProstrates himself before WazirBass chordWazir and courtsleep onTap on drumGhurri-Wurriagain prostrates himselfBass chordThe Courtsleeps onDrum crashGhurri-Wurrislams himself down hardDrum crashWazir,Vizier,NubianawakeDrum rollWazirshakes his fist at the beggarWood-block tapSignals VizierSand blocksVizierruns thumb along his scimiter bladeTapGhurri-Wurriretreats to the rightTapHe stumbles over the telescopeTap, tapHe picks it up and hands it to the WazirTapGhurri-Wurripoints to the "Distance."TapThe Waziruses the telescopePrincess rhythmThe "Distance" is revealed as in Scene IPrincess and retinueare seen traveling [across the platform from right to left]TapThe Wazirlowers the telescopeThe "Distance" vanishes as in Scene IDrum crashWazirstamps his footDrum rollHe shakes his fists, first at the distance, then off leftTapPoints at Ghurri-WurriTapVizierseizes Ghurri-Wurri by the scruff of the neckTapVizierpoints off left with his scimiterWazir rhythm on wood-drum [Telegraphically stated ... ... etc.Musically, accented eighth notes in 2/4 time,presto]The CourtandGhurri-Wurribegin to run,Nubianfirst, thenGhurri-Wurri, thenVizier, thenWazir. The running is entirely vertical in movement, no ground being covered at all.Lights out[In the darkness, the runners move downstage without losing step. A plain drop is lowered behind them]Cymbal crashCymbal crashLights on
Wazir rhythm,crescendoandacceleramentoThe runners increase their speed throughout the sceneGhurri-Wurrislips to his knees,Vizier, without losing a step, jerks him back on his feetGhurri-Wurri, pointing left, resumes runningWazirpoints leftWhen the runners have reached their maximum speedCymbal crashThe lights go outIn the darkness theWazir's courtandGhurri-Wurri exit and take their places at the right ready for Scene VThe ShepherdandGoattake their placesCymbal crashLights up
Wind instrument[A plain drop]The Shepherdis discovered well to the left, piping for the GoatGoatis dancingBegin Princess rhythmGoatstops to listen, looks off to the rightShepherdlooks to the rightGoatcrosses to extreme right, bowsPrincess and retinueenterTapThey haltTapThe Shepherdkneels to the Princess, then dances for herStringed instrumentDrum rollpp.crescendoThe Goatbecomes alarmedAllturn and look to the rightGoat, on all fours, offers his back to the PrincessShepherdinducesPrincessto sit on Goat's backPrincess rhythmGoatexits, followed by Princess and retinueTapShepherdfolds his armsWazir rhythmWazir's CourtandGhurri-Wurrienter from the rightTapThey haltTapWazirpoints to ShepherdTapVizierbrandishes his scimiterDrum rollNubianapproaches ShepherdDrum crashNubianfallsDrum rollCrescendotoWazirshakes his fistsPoints at ShepherdVizierattacks Shepherd with scimiterShepherdgrasps scimiterThey struggle, conventionally, one, two, three, four, five, sixDrum crashThe ShepherdfallsDrum rollThe Vizierwaves his scimiter aloftDrum rollWazirexultsTapNubianrisesTapWazirpoints to the rightTapVizierpoints at Shepherd with scimiterTapNubianseizes the ShepherdWazir rhythmWazir's CourtandShepherdexit at the right, ignoring Ghurri-Wurri, Nubian and Shepherd first, then Vizier, then Wazir. [All cross behind the drop to left of stage ready for Scene VI]Drum crashGhurri-Wurristamps his footDrum rollShakes his fists after themDrum rollRuns to left and shakes his fists at the PrincessDrum rollRuns to right and shakes them at the WazirRuns to center and shakes them at the audienceCymbal crashLights outGhurri-WurriexitsThe drop is raisedCymbal crashLights on
[The Wazir's garden. No characters on scene]
Wazir rhythmNubianenters from left, holding the ShepherdTheWazirandVizierfollowTapWazirtakes his seat, smirkingTapWazirorders Shepherd thrown down at the rightDrum crashNubiancompliesTapVizierorders Nubian off rightWazir rhythm, fastNubianhurries outWazir rhythm, slowReënters, staggering under a ball and chain [the chain of papier maché and the ball a balloon]Drum crashDrops these beside the ShepherdClank, clankRivets chain to Shepherd's legTapRisesTapVizierorders Nubian off, leftWazir rhythmNubianexits leftTapViziersitsTapWazirmoves a chessmanTapViziermoves a chessmanTapShepherd, in a gesture of despair, finds the telescopeHe looks into the "Distance"[The "Distance" is shown as in Scene I]Stringed musicPrincessandGoatdiscovered in conference. Goat has an idea. He points to the Shepherd, then to the Wazir, then to the Princess and executes an ancient dance movement which is contemporaneously described as the "shimmy"The Princessclaps her hands and exits, followed by the GoatTapShepherdlowers the telescope[The "Distance" vanishes]TapShepherdis puzzledStringed musicPrincessenters from the left, veiled and carrying a scarf in her handsGoatenters with her, goes at once to the ShepherdPrincessposes at centerWazirandVizierturn, smirkingPrincessdancesWazirleers and strokes his beardPrincessends dance beside VizierChords, agitatoShe ties his arms with her scarfSand blocksWaziris convulsed with laughterChordsPrincessbinds Wazir's arms with her veilSand blocksVizieris convulsed with laughterPrincess rhythm on wood drumThe Attendantenters from the left with a box on which a skull and cross-bones are conspicuousTapPrincesstakes two pills from the boxTapShe pops them into her prisoners' open mouthsPrincess rhythmThe Attendantexits as she cameSand blocksWazirandVizierswallow vigorouslyDrum crashThey lay their heads upon the chess table and dieTapPrincessbeckons to the ShepherdTapShepherdpoints to his fettersTapGoatattacks the ball and chainDrum crashHe "bites" the ball [bursts the balloon]TapHe "bites" the chain.String musicPrincess,ShepherdandGoatdance in a circleCymbal crashLights outPrincessandShepherdandGoatready at left for next sceneThe drop is loweredCymbal crashLights up
String musicPrincessandShepherddance across followed by theGoat, who is playing on the Shepherd's pipePrincessandShepherd, behind the drop take their places on the platformCymbal crashLights out[The drop is lifted]Cymbal crashLights on[The Wazir's garden with the middle section of the drop lifted to show the "Distance"]String musicShepherdandPrincessdiscovered in the "Distance" posed in a kissCymbal crashLights out[The drop is lowered]Cymbal crashLights onThe Maker of Sounds rises, yawns cavernously, bows very slightly and exits
[Curtain.]
Copyright, 1920, by Stewart & Kidd Co.All rights reserved.
PERSONS OF THE DRAMA.Florio[a poet].Olivia[Florio's mistress].Violante[a Florentine noblewoman].Lizzia[Florio's serving-woman].Dioneo[a member of Boccaccio's party].One Voice.Another Voice.Various Processions Bearing the Dead.
Time:The year of the Great Plague, A. D. 1348.Place:Florence.
Published by permission of and special arrangement with Harry Kemp. Applications for the right of performingBoccaccio's Untold Talemust be made to Mr. Harry Kemp, in care of Brentano's, New York.
A Play
By Harry Kemp
[Scene:A lower room in Florio's house. It is wide and simply furnished.
In the center, at back, is a large doorway, hung with great black arras. In the right-hand extreme corner is a small altar to the Virgin.
In wall, at back, high up on left, a small window.
A smaller doorway, hung with arras of black, is on the left, well toward the front. This doorway gives on the study of the poet.
At rise of curtain the stage is lit with the uncertain light of tapers.
Lizzia, the old servant, is discovered kneeling at the altar.
Soon she rises, crossing herself devoutly.
Demurringly and with deprecating shakes of the head, she begins hanging wreaths about the walls of the room.
After the hanging of each wreath she crosses herself, and, with agitated piety verging on superstition, she bends the knee briefly before altar.
Now the wreaths are all in place.... Through the small window the grayness that comes before dawn begins to glimmer in.
One by one Lizzia snuffs out the tapers.
For a moment everything is left in the gray half-darkness.
But now Lizzia draws aside the large black arras in the back. There is revealed a magnificent panoramic view of medieval Florence, flushing gradually from pearl-gray to soft, delicate rose, then to the full gold of accomplished sunrise.
Again the old woman kneels at the altar.
Enter, through the open doorway at back, Violante—rather tall, good-looking, quite dark.
Violante stands silent for a moment. One can see that it is in her thought to wait till Lizzia finishes her devotions ... then she becomes impatient and breaks in on them.]
Violante
Lizzia, where bides your master, Florio?I sped a servant hither yesterday,To bid him come to me, and now, this morning,I come myself.
Lizzia
For three days he has looked upon no one.Even I, who wait upon him, have not seen him.
Violante
Where keeps he, then?
Lizzia[indicating the small doorway].
Yonder, within that arras.
Violante
Summon him forth!Say the Lady Violante waits his presence.
Lizzia
He will grow wroth with me—nor will he greet you.
Violante
Fears he, then, the Plague so? Is he too suchAs dare not walk abroad nor breathe the airLest he should drink infection?
Lizzia
Not so, Lady, but he—
Violante
Tell him, then,Our friend Boccaccio, the story-teller,Has shaped a brave device against the Plague....Before the sun climbs higher into dayAnd the night's Dead are heaped up in the streetsFor buriers and priests to draw away,A group of goodly ladies and gentlemenGo forth to a sequestered country placeRemote from Florence and invisible Death.There, in green gardens full of birds and leaves,The blue, cloud-wandering heaven spread above,We shall beguile the time with merriment,Music and song and telling of many tales,Trusting that Death, glutted with multitudes,Will pass us by.... We need but FlorioTo bring our perfect pleasure to the brim.
Lizzia[obstinately]
But he will see no one, Lady, not even you.He is—he is—
Violante
Not smitten by the Plague?
Lizzia[hesitating]
Nay, he has taken a vow of close seclusion.
Violante[confidently]
But he knows not I am here—the Lady Violante! [A pause.][Impetuously] Go, tell him it is I,—Nor take upon yourself such high command!
Lizzia[somewhat resentfully]
I am a servant,I only do as he commanded me....
[Barring way.]
Violante[distractedly]
Strange that he should so change in ten days' space.
[With passionate abandonment]
Old woman, go this instant—summon him!I will abide your crabbed ways no longer.
Lizzia[stung to retaliation]
Lady, he would not look upon your faceIf you made him ruler of the world for it.
Violante[flaming]
What new freak of his is this?He is as full of moods as any woman....But I had never thought—
[Determined]
I will go to him!
Lizzia[again barring way]
I could tell you many things,But I would spare you.
Violante
Spare me!... you insolent, presumptuous old woman,What have I,I, the Lady Violante Ugolini,To do with your good master, Florio,Beyond a fostering friendship for his song!Else he were nothing to me....You are presuming on your age and service—He shall rebuke you for this....
Lizzia
Very well, Lady, if you must know—He has sworn that he will look upon no oneTill he behold—Olivia!
Violante[startled]
Olivia!... who is Olivia?
Lizzia
She is a girl who came from PaduaHither, to flee the Plague ... and fled in vain.He has loved her just ten days ... since first she came....She came to him, a stranger, singing songs—His songs!
Violante
And flattering him so—he loved her!
Lizzia
Nay, she was beautiful, my noble lady,—Surpassing wonderful.... "His shining dreamOf ivory and gold," he called her....
Violante[coldly]
What has all this to do with me?
[Relapsing into forgetful eagerness.]
Tell me, where, then, is his Olivia now?
Lizzia
The Plague! He gave her to a doctor's care,Beggaring himself therefor, as one who loves!
Violante
And now he shuts himself away for griefBecause she died!... But, if she be dead,Wherefore these garlands?—Or does he think she will come back, alive?
Lizzia
The learned doctor swears if she survivesThree days, she shall not die.
Violante
Not die, in sooth!Who is this man who resurrects the Dead?Why, folk whose nerves and sinews sing with lifeSicken, fall down, and seethe with death and wormsWithin an hour, and they, the few who live,Living, curse God because they did not die....He would best think of the Living, and forgetThe Dead.
Lizzia
Half-crazed with love, he dreams she will return....This is the morning after the third day—This is the very hour she would return.Suppose the learned doctor keep his word?—Hence have I hung these garlands.
[The sounds of a funeral procession heard approaching.... The procession passes the large doorway, going by, along the street, without. The people bear candles.... They pass slowly by the open door ... bodies being carried in shrouds.]
One Voice
We bore the son ... and now we bear the father....
Another Voice
And I or you, mayhap, will be the next.
Lizzia[continuing]
These wreaths, they seem a mockery of Heaven.I pray that God will smite me not—I doWhat I am bid!...
Violante[half to herself]
She will not come!...
[To Lizzia]
Is there nothing will cure his madness?
Lizzia
Even if she die they are to bring her hither....
Violante
Hither? And all corrupt? Then Death will strike you both!
Lizzia
Lady, I am so old I'd rather sleepThan walk this sinful, weary world; and be—He will unshroud her, kiss her lips, and die!
Violante[with great bitterness]
Fie, this our Florio—he has loved before,And he will love again, and yet again....Women's beauty he loves, not any woman!
Lizzia
What you have said were true ten days ago—Do I not know him, Lady?... But a changeHas come upon him that I marvel at—So great a change in such a little while....Ah, looked you on them when they were together,Saw you how he is caught up in her faceAnd all the beauty of her, you would say"Here is a love, at last, that climbs from earth to heaven!"
Violante[laughing harshly]
It is her beauty he loved; not sheThe thing he loved! A poet, he!...
[A pause.]
It were as well you tore these garlands down:If, by a miracle, she should return,The Plague will have marked her with such uglinessThat even you will shine like Helen of Troy beside her!Much will he care, then, if she sing his songs!Had she a voice like a garden of nightingalesHe could not listen to her without loathing....
[Sounds of approach of another funeral procession.]
Violante[continuing]
Pray draw the arras, Lizzia, and close outThe things that they bring by.... They have begunTo move the night's innumerable Dead.
[Lizzia draws the large arras.... From now on, till the very last, just before climax, sound and murmur of processions are continually heard.]
Violante[persistently]
I think she will not come—But, if she does, she should be spared the crueltyOf his heart's change,And he, her marred, plague-broken face!Stand aside—let me pass....
Lizzia[barring way again]
He took his oathBefore that altar, to the most high God!You shall not break his vow....
Violante
Let me go to him—here are my jewels!
Florio[calling from within]
Who is it speaks without? Whose voice is thisWrangling and breaking in upon my peace?
Lizzia
The Lady Violante Ugolini!
Florio
To-day, of all days, must I be alone....
[Florio pushes out arras from small doorway and stands before it, so that he remains unseen to Violante and Lizzia.]
Florio[to Lizzia]
Go, Lizzia, I will speak with the Lady....Have you the wreaths hung, Lizzia?
Lizzia
Aye, master Florio!
Florio
Have you the table heaped with delicaciesIn the green space by the fountain-shaken pool?
Lizzia
I go to set the viands now, my master.
[Lizzia goes out.]
Florio
Violante, if you would speak with me,Stay where you are—I cannot look upon you.
Violante
Not look upon me?
Florio
Nor must you look on me.... I have vowed a vow!
Violante
How strange you are!...I had thought to rush into your arms!...Have you forgotten so soon the oaths you took?
[She starts toward him.]
Florio[hearing the rustle of her garment.]
Move one step further and I draw the arras!
Violante[halting and hesitating]
Have you forgotten the first time you saw my faceAnd sent a sonnet to me?... It seems but a daySince you were awed by my nobility....And when I let you press your burning lipsAgainst my hand, you swore it made you God!
[Sadly]
From that time it was not far to my mouth....And, after that, what with the shining moon,And nightingales beginning in the dusk,And songs and music that you made for me—In a little while I was entirely yours!...
Florio
Remember that young nobleman who diedFor love of you?... I was your pastime, merely that!And so I sipped what honey came my way.But why do you come now?Did you not leave me without a word?
Violante
My father....[Sombrely] My father whom the Pestilence has smitten—
Florio[quickly]
You sent me no message.
Violante
Every door was watched ... he might have had you slain....He bore me off to Rome....
Florio
You loved me, then?
Violante
And did not you love me?
Florio
I could have sworn I did.
Violante
O Florio!...Where is my pride of rank, my woman's shame.That I should come like this to you!
Florio
Speak not so, Violante—I pray you go!
Violante
You love another, then?
Florio[ecstatically]
I have loved beauty, beauty all my life!
Violante
We are not metaphors and pale abstractions,We women ... nor would we be prized aloneFor smooth perfections.... [Low and intense] Say that you loved a womanSmitten with the Plague, say, further, that she lived—One among ten thousand—that she came back to you,[The one thing sure] hideous and marred—
Florio
You try me sorely!Violante, I pray you, go!
Violante[persistently]
I have come hitherTo bid you come away with me.
Florio
It may not be.
Violante[slowly]
The other one—there is another one!—I pity her!
Florio
You need not.
Violante
Ah, then, there is another?
Florio
Have you no pride, my Lady Violante?
Violante
That I have not,For shameless is the heart that loves.
Florio
Then shamelessly I loveAnother face, another heart and body,Another soul, unto eternity—She is all beauty to me, and all life—So shall she be forever!
Violante
Forever? That is what you swore to me.
Florio
I have not sworn a single oath to her,And yet she made earth heaven in a day,And earth continues heaven.... Go, noble Lady!
Violante
You have no pity on me?...You seeHow humbly I've become....
Florio
To pity you, Lady, would be cruel to her!...In a month you will be glad.
Violante
You have slain me, Florio!
Florio
Farewell, Violante!
[Violante affects to go. But she stops quickly at large door in back and reënters on tiptoe. Florio withdraws to his study again, after listening for a moment.]
Lizzia[reëntering]
You have not gone, my Lady Violante?
Violante
I will not goTill I have looked upon this woman's face!
[As she finishes these words, the great black arras in the back is listed and a hooded and veiled woman enters. She stands regarding the two other women in silence.]
Violante
Ah!
Lizzia
The miracle has come to pass!
[Crosses herself.]
Violante
Do they call you Olivia? Speak, woman!
Olivia
Yea, I am she—but where is Florio?
[Violante straightens, proud and erect, as if she had been struck an invisible blow.]
Lizzia
He waits for you within.
Olivia
So he had faith I would not die?
Lizzia
He had these garlands hung for your return.He has lived beneath a holy vow, the daysYou were not here: shut in his room,Yours must be the first faceHe sees, on his return to light and life.He must have fallen asleep from wearinessOr he had heard your voice.
[To Violante.]
Now, Lady Violante, you must go!
Violante[indignant]
How? I must go?
Lizzia
You would not stay?
Violante
Yea, I would stay to see this love grow darkAnd shrink to hate.
Olivia[astonished]
And shrink to hate?
Violante
When you remove your veilBehind which ugliness that beggars hellLies hidden—
Olivia[dazed]
Ugliness?
Violante
Cast by your veil!...Well may you shrink from your own hideousnessSince the foul plague has withered up your faceAnd seared it till you die....There shines your mirror, wrought of polished brass—How many hours you have dallied at itOnly the beauty that you once possessedCan tell.You will no longer find a use for it.
Olivia[recovering herself]
I trust I shall!
Lizzia[to Olivia]
Alas, dear God! And is it true, Olivia?
Olivia[to Lizzia]
Would he not love me still if it were true?
Lizzia[to Olivia]
I am old and wretched and full of woe.I have known life too long.
Violante[to Olivia]
He whose one cry is beauty! How couldthatbe?
Olivia[almost singing in speech]
Then, God be praised, I need not try him thus!For God has wrought two miracles with me:I live, and I am beautiful!
Violante
Unveil your face, then—give yourself to sight.
Olivia
His must be the first eyes that look on me.
Violante
Ah, so you trust that you, with fond deceit,May find some magic way to cozen him?
Lizzia[with great emotion]
Go, Lady—I see darkness in the air,I thrill to some strange horror, yet unguessed....Go, Lady Violante, I pray you, go!
[Lizzia lifts arras in back for Violante's exit. Violante does not move from where she stands.]
Violante[persistently, to Olivia]
Woman it is your beauty that he loved,And that alone ... just as he loves a flowerOr sunset.... That gone, lo, his love is gone!
Olivia
Strange woman, there is evil in your voice!And yet I know he loves me for myself,Taking my beauty, none the less, in gladnessLike any transitory gift from God.
Violante
And yet you dare not put him to the test?
Olivia
What test?
Violante
To make him first believeThat you are ugly!
Olivia
I would not toy with such a splendid giftAs a man's love.
Violante[mocking]
Ah ... in sooth?
Olivia
How strange you look ... yet stranger is your speech.