"A woman's heart is most capricious;Who trusts her, finds life not propitious."
"A woman's heart is most capricious;Who trusts her, finds life not propitious."
Listen to me, Master Eneas. We are old friends; we must get through with this thing to-day. Everything here depends upon you. If you are ordered—[He whispers to Eneas] be slow about it; let it fall through skillfully. Let me have two clear hours before me to-night, and what I want will be accomplished; to-morrow there will be no favorite. I shall be all-powerful, and you will be baronet and lieutenant of the Tower the day after. Do you understand?
MASTER ENEAS.
I understand.
SIMON RENARD.
Very well. Some one is coming. We must not be seen together. Go out that way. I am going to meet the Queen. [They separate.
A Jailerenters with caution, then ushers inLady Jane.
THE JAILER.
You are where you wished to be, my lady. Here are the doors to the two cells. My recompense, now, if you please.
[Janeunfastens her diamond bracelet and gives it to him.
JANE.
There it is.
THE JAILER.
Thanks. Don't compromise me.
[He goes out.
JANE (alone).
Kind Heaven! What shall I do? It is I who have destroyed him. I must be the one to save him! I can never do it, never! A woman can do nothing! The scaffold— The scaffold! Oh, it is horrible! Come, no more tears; let us have action! I never can do it! I never can do it! Have mercy on me, my God! I think some one is coming. Whose voice is that? I recognize it. It is the Queen's voice! Ah, all is lost!
[She hides behind a pillar.The QueenandSimon Renardenter.
The Queen; Simon Renard; Jane, concealed
THE QUEEN.
Ah, the change surprises you? I am no longer myself? Well, what does that matter to me? It is the truth! I don't want him to die—now!
SIMON RENARD.
Yet yesterday, your Majesty ordered the execution to take place to-day.
THE QUEEN.
As I ordered the day before, that the execution should take place yesterday. As I ordered Sunday that the execution should take place Monday. To-day I ordered the execution to take place to-morrow.
SIMON RENARD.
As a matter of fact, since the second Sunday in Advent, when the decision was pronounced in the Star Chamber, and the two criminals came back to the Tower preceded by the executioner with the ax turned toward them—and that was three weeks ago—every day since then your Majesty has put the matter off until to-morrow.
THE QUEEN.
Well, can't you understand what that means, sir? Must I explain everything, and must a woman be forced to show her naked heart to you, because she is a Queen—unfortunate woman that she is—and because you represent the Prince of Spain, her future husband? You don't understand, you men, that with a woman the heart has its chastity as well as the body. Well, then, yes—since you want to know, since you make believe that you don't understand anything—yes, every day I put off Fabiani's execution until to-morrow, because every morning my courage fails me when I think that the bell of the Tower of London will ring out his death-knell; because to think they are sharpening an ax for that man, breaks my heart; because it kills me to think they will nail a coffin over him; because I am a woman, because I am weak, because I am insane, because I love him yet, my God! There! have you got enough? Are you satisfied? Do you understand now? Oh, some day, my lord, I will have my revenge on you, for all these things you have made me tell you!
SIMON RENARD.
Yet it ought to be about time to get through with this Fabiani! You expect to marry my royal master, the Prince of Spain, madame!
THE QUEEN.
If the Prince of Spain is not satisfied, let him say so; we will marry somebody else. Suitors are not lacking. The son of the King of the Romans, the Prince of Piedmont, the Infante of Portugal, Cardinal Polus, the King of Denmark, and Lord Courtenay are as good noblemen as he!
SIMON RENARD.
Lord Courtenay! Lord Courtenay!
THE QUEEN.
An English baron is worth a Spanish prince, my lord. Besides, Lord Courtenay is descended from the emperors of the East. Oh, get mad if you like!
SIMON RENARD.
Fabiani has made himself hated by every one in London who has got a heart.
THE QUEEN.
Except by me!
SIMON RENARD.
Peasants and lords are united against him, and if he is not executed this very day, as your Majesty has promised—
THE QUEEN.
Well!
SIMON RENARD.
There will be an uprising among the people.
THE QUEEN.
I've got my lansquenets.
SIMON RENARD.
There will be a conspiracy among the nobles.
THE QUEEN.
I have the executioner.
SIMON RENARD.
Your Majesty swore upon your mother's prayer-book that you would not pardon him.
THE QUEEN.
Here is a signature in blank which he has sent to me, in which I swear on my imperial crown that I will pardon him! My father's crown is worth as much as my mother's prayer-book. One oath destroys the other. But who says that I will pardon him?
SIMON RENARD.
He has boldly betrayed you, madame!
THE QUEEN.
What does that matter? All men are alike about that. I don't want him to die. Listen, my lord—I mean Sir Bailiff. Good God! you confuse my mind so much that I can't even tell whom I am talking to. Oh, I know all that you want to say to me! I know he is a vile, degraded, contemptible man. I know it as well as you, and I blush for it. But I love him! What do you want me to do about it? I would probably love a better man less. Moreover, who are you—all of you—great as you may be? Are you any better than he? You will tell me that he is a favorite, and the English nation detests favorites! Don't I know that you only want to overthrow him to put the Earl of Kildare—that fool, that Irishman—in his place, that he may have twenty heads a day cut off? What does that matter to you? Don't talk to me about your Prince of Spain; you make light enough of him. Don't talk to me about the anger of M. de Noailles, the French embassador! M. de Noailles is an idiot, and I will tell him so to his face. As for me, I am a woman; I want things, and then I don't want them. I am not made all in one piece. That man's life is necessary to my life. Oh, I beg of you, don't put on that air of virginal sincerity and good faith. I know all your intrigues. Between us two, you know as well as I that he didn't commit the crime for which he is condemned. Well, it is settled. I don't want Fabiani to die. Am I the mistress, or am I not? Come, Sir Bailiff, let us talk about something else, will you?
SIMON RENARD.
I withdraw, madame. All your nobles have spoken to you through my voice.
THE QUEEN.
What do I care for my nobles!
SIMON RENARD (aside).
Suppose we try the people!
[He goes out with respectful salutation.
THE QUEEN (alone).
He went out with a singular expression. That man is capable of arousing a rebellion. I must hurry off to the City Hall. What ho! Some one! [Master EneasandJoshuaappear.
The same, withoutSimon Renard. Master Eneas, Joshua
THE QUEEN.
Is it you, Master Eneas? This man and you, you must attend to it that the Earl of Clanbrassil makes his escape at once.
MASTER ENEAS.
Madame—
THE QUEEN.
Very well! I won't trust you; I remember you are one of his enemies. Are there none but enemies of the man I love, around me? I will wager that this turnkey, whom I don't even know, he hates him too.
JOSHUA.
You are right, madame.
THE QUEEN.
My God! My God! This Simon Renard is more a king than I am a queen! What! not one person to trust? No one to whom I can give power to plan his escape?
JANE (coming out from behind the pillar).
Yes, madame, I!
JOSHUA (aside).
Jane!
THE QUEEN.
You! Who are you? Ah, it is you, Jane Talbot. What are you doing here? Never mind, you are here! You have come to save Fabiani; thank you! I ought to hate you, Jane; I ought to be jealous of you. I have reason enough to be! But I'm not! I love you for loving him! In front of the scaffold there is no more jealousy—nothing but love! You are like me, you forgive him. I understand; men don't understand these things. Lady Jane, let us have it clearly understood. We are both of us miserable, are we not? We must save Fabiani! I have no one but you. I must let you do it! At least, I am sure, you will do it with all your heart. Take charge of it, gentlemen, both of you. Do everything that Lady Jane directs you to do, and upon your heads, you will be answerable for the execution of her orders. Embrace me, young woman!
JANE.
The Thames washes the base of the Tower on this side. I noticed a secret passage. A boat at that place, and the escape might be made by the Thames. It is the safest way.
MASTER ENEAS.
It will be impossible to get a boat there, before an hour.
JANE.
That is very long.
MASTER ENEAS.
It will soon pass! It will be dark, too. That will be better if her Majesty wishes to keep the escape secret.
THE QUEEN.
Perhaps you are right. In one hour then. I leave you, Lady Jane. I must go to the City Hall. Save Fabiani!
JANE.
Make yourself easy, madame!
[The Queengoes out;Janefollows her with her eyes.
JOSHUA (front of stage).
Gilbert was right; she loves Fabiani!
The same, withoutThe Queen
JANE (toMaster Eneas).
You have heard the Queen's commands. A boat, there, at the base of the Tower, the keys of the secret corridors, a cap, and a cloak.
MASTER ENEAS.
Impossible to get all that before night. In one hour, my lady.
JANE.
Very well! Go! Leave me with this man.
[Master Eneasgoes out.Janefollows him with her eyes.
JOSHUA (aside, at front stage).
"This man!" It is very natural. One who has forgotten Gilbert will not remember Joshua.
[He goes toFabiani'scell and is about to open it.
JANE.
What are you doing there?
JOSHUA.
Forestalling your wishes, my lady. I am opening this door.
JANE.
What door is that?
JOSHUA.
The door of my Lord Fabiani's cell.
JANE.
And that one?
JOSHUA.
It is the door to another man's cell.
JANE.
Who is he—that other?
JOSHUA.
Another who is condemned to death; some one whom you do not know—a workman named Gilbert.
JANE.
Open that door!
JOSHUA (after having opened it).
Gilbert!
Jane, Gilbert, Joshua
GILBERT (from the interior of his cell).
What is wanted?
[He appears on the threshold, seesJane, leans trembling against the wall.
Jane! Lady Jane Talbot!
JANE (on her knees, without lifting her eyes to him).
Gilbert, I have come to save you!
GILBERT.
Save me!
JANE.
Listen to me! Pity me! Do not crush me! I know all that you would say. It is all true; but don't say it to me. I must save you. Everything is ready. The escape is safe. Let yourself be saved by me, just as if I were anybody else. I don't ask any more. You need never recognize me again. You need never know who I am! Don't forgive me! Just let me save you. Will you?
GILBERT.
Thank you! It is useless. Why wish to save my life, Lady Jane, if you do not love me?
JANE (with joy).
Oh, Gilbert, is that what you ask me, truly? Gilbert, do you deign to think of what is passing in this poor girl's heart? Gilbert, is it possible that the love I have for you can interest you, can seem worth thinking about? Oh, I thought it was quite indifferent to you—that you despised me too much to wonder what I did with my heart. Gilbert, if you only knew how these words you have spoken make me feel! Oh, it is an unhoped-for gleam of sunshine in my dark night. Oh, listen to me! If I dared to draw near to you, if I dared to touch your garments, if I dared to take your hand in mine, if I dared once more to lift mine eyes to you and to Heaven, as I did once—do you know what I would say to you? On my knees, prostrate, weeping at your feet, with sobs on my lips and the joy of angels in my heart, I would say, "Gilbert, I love you!"
GILBERT (taking her to his heart with rapture).
You love me?
JANE.
Yes, I love you!
GILBERT.
You love me! My God! she loves me. It is indeed true! She has said it herself; her lips have spoken it. God in heaven!
JANE.
My Gilbert!
GILBERT.
You say all is prepared for my escape? Quick—let us hurry! Life! I want to live! Jane loves me! This roof descends on my head and crushes it. I want air! I suffocate here! Let us fly quickly. Let us go, Jane! I want to live! I want to live! I am beloved.
JANE.
Not yet. We must have a boat. We must wait until night. But be easy. You are saved. In less than an hour we will be outside. The Queen is at the City Hall and will not come back so soon as that. I am mistress here. I will explain it all to you.
GILBERT.
Wait an hour? That is long. Oh, I yearn to get back to life and happiness. Jane, Jane, you are there; I will live! You love me! I am come back from hell! Restrain me. I will do something mad. I will laugh, I will sing. Ah, you do love then?
JANE.
Yes, I love you! yes, I love you! And listen, Gilbert, believe me; this is the truth as though I were on my death-bed: I have never loved any one but you. Even in my fall, even in the midst of my sin, I loved you. Scarcely had I fallen into the arms of that demon who ruined me, when I wept for my angel.
GILBERT.
Forgotten! forgiven! Never speak of it again, Jane! What do I care for the past? Who could resist your voice, who would do other than I am doing? Yes, I pardon everything, my well-beloved child. The foundation of love is mercy and pardon, Jane; jealousy and despair burned the tears in my eyes, but I pardon you, but I thank you! You are the only truly bright thing in this world; at each word that you speak, I feel grief dies, and joy is born in my soul. Jane, lift your head, stand up straight before me there and look at me! I tell you that you are my child.
JANE.
Always generous! Gilbert, my well-beloved.
GILBERT.
I wish I were outside now: in our flight, far away: free, with you! Oh, this night, which will never come! The boat is not there. Jane, we will leave London at once, this night. We will leave England; we will go to Venice. Men of my trade make a great deal of money there. You will belong to me! Oh, my God! I am insane! I have forgotten the name you bear. It is too proud a one, Jane.
JANE.
What do you mean?
GILBERT.
Daughter of Lord Talbot.
JANE.
I know one prouder still.
GILBERT.
Which?
JANE.
Wife of the workman Gilbert.
GILBERT.
Jane!
JANE.
Oh, no! Don't think I ask so much as that. I know I am unworthy of that. I do not lift my eyes so high. I would never take such an advantage of your pardon. The poor engraver Gilbert shall make no mesalliance with the Countess of Waterford. No, I will follow you, I will love you, I will never leave you; I will lie all day at your feet, all night at your door. I will watch you work, I will help you, I will give you all you need. I will be to you something less than a sister, something more than a dog. And if you ever marry, Gilbert—because God will want you to find somebody, some pure woman, without stain and worthy of you—well, if you marry, and if your wife is good, if she will let me, I will be your wife's servant. If she won't have me, I will go off, far off, to die where I can. That is the only way I shall ever leave you. If you do not marry I will stay with you, always; I will be gentle and patient—oh, you shall see!—and if people think ill of me because I am with you—well, they can think what they please. I have no longer the right to blush, you see—I am only an unfortunate woman!
GILBERT (falling at her feet).
You are an angel! You are my wife!
JANE.
Your wife? Ah, you are like God—your pardon purifies me. Be blessed, Gilbert, for putting this crown upon my brow.
[Gilberttakes her up and folds her to his heart. While they stand thus in each other's arms,JoshuatakesJane'shand.
JOSHUA.
It is Joshua, Lady Jane!
JANE.
Good Joshua!
JOSHUA.
You did not know me a little while ago.
JANE.
No, I had to begin with him.
[Joshuakisses her hand.
GILBERT (pressing her in his arms).
Ah, what happiness! But is it real, all this happiness?
[For some time a distant noise has been heard; confused voices, a tumult. It grows dark.
JOSHUA.
What is that noise?
[He goes to the window which overlooks the street.
JANE.
Oh! My God! Let nothing happen!
JOSHUA.
There is a great crowd off there. Pick-axes, pikes, torches. The Queen's pensioners on horseback, and fighting. They are all coming this way! What cries! The devil! It looks like a public revolt.
JANE.
If it is only not against Gilbert.
DISTANT CRIES.
Fabiani! Death to Fabiani!
JANE.
Can you hear?
JOSHUA.
Yes.
JANE.
What are they saying?
JOSHUA.
I can't distinguish!
JANE.
Oh, my God! My God!
[Master Eneasand a boatman enter hastily through the concealed door.
The same.Master Eneas, a Boatman
MASTER ENEAS.
My Lord Fabiani! My lord, not an instant to lose! The people know the Queen wanted to save your life. There is a revolt of the London populace against you. In a quarter of an hour you will be torn to pieces. My lord, save yourself. Here is a cloak and a cap. Here are the keys. Here is a boatman. Don't forget that you owe it all to me. My lord, make haste! [Low to Boatman.] Remember, you are not to hurry.
JANE (hastily coversGilbertwith the cloak and cap; low toJoshua).
Heaven! If this man will only not recognize him.
MASTER ENEAS (looking intoGilbert'sface).
What! this is not Lord Clanbrassil. You are not fulfilling the Queen's orders, my lady. You are helping another to escape.
JANE.
All is lost! I ought to have foreseen this! Ah, sir, it is true! Have mercy—
MASTER ENEAS (low toJane).
Silence! Go on! I have said nothing! I have seen nothing!
[He goes up stage with an air of indifference.
JANE.
What does he say? Ah, Providence befriends us. Everybody wants to save Gilbert.
JOSHUA.
No, my lady, everybody wants to destroy Fabiani.
[During the entire scene the cries have increased outside.
JANE.
We must hurry, Gilbert. Come quickly.
JOSHUA.
Let him go alone!
JANE.
Leave him!
JOSHUA.
Only for a moment. No woman in the boat, if you want it to arrive safe. It is too light yet; your dress is white. After the peril is over, you will find each other again. Come this way with me. Let him go that way.
JANE.
Joshua is right. Where will I find you, my Gilbert?
GILBERT.
Under the first arch of London Bridge.
JANE.
Good! Go quickly. The tumult increases. Oh, I wish you were safe away!
JOSHUA.
Here are the keys. There are twelve doors to open and shut between here and the water's edge. It will take you a good quarter of an hour.
JANE.
A quarter of an hour! Twelve doors! That is frightful.
GILBERT (embracing her).
Good-by, Jane! A few more moments of separation and we will rejoin each other for a life-time!
JANE.
For eternity. [To the Boatman.] Sir, I place him in your care!
MASTER ENEAS (low to Boatman).
For fear of accident, don't hurry.
[Gilbertgoes out with the Boatman.
JOSHUA.
He is saved! Now for us! We must shut this cell.
[He shuts the door ofGilbert'scell.
All right! Come quickly; this way!
[He goes out, withJane, through the other concealed door.
MASTER ENEAS (alone).
Fabiani remains in the trap. Now, there is a shrewd little woman whom Simon Renard would have paid a good deal for. How will the Queen take all this? Provided the consequences do not fall on my shoulders!
[The QueenandSimon Renardenter with rapid steps. The tumult outside has steadily increased. It is night. Cries of death, torches, lights, sounds of moving masses; the click of arms, shots, the stamping of horses. Several noblemen with daggers in their hands accompanyThe Queen. Among them are the herald of England, Clarence, bearing the royal banner, and the herald of the Order of the Garter, Jarretiere, bearing the banner of that order.
The Queen, Simon Renard, Master Eneas, Lord Clinton, the two heralds, lords, pages, etc.
The Queen(low toMaster Eneas).
Has Fabiani escaped?
MASTER ENEAS.
Not yet!
THE QUEEN.
Not yet! [Giving him a terrible look.
MASTER ENEAS (aside).
The devil!
THE PEOPLE (outside).
Death to Fabiani!
SIMON RENARD.
You must make your decision on the spot, madame. The people demand this man's death! The Tower is besieged. The revolt is formidable. Your nobles have been cut to pieces on London Bridge. Your Majesty's pensioners hold their own yet; but, just the same, your Majesty has been chased street by street, from the City Hall to the Tower of London. Madame Elizabeth's followers have joined the people. You can tell that by the venom of the mob. All this is serious. What does your Majesty command?
THE PEOPLE.
Fabiani! Death to Fabiani!
[They grow louder, and come nearer.
THE QUEEN.
Death to Fabiani! Do you hear that howling populace, my lords? You must throw a man out to them. The rabble is hungry!
SIMON RENARD.
What does your Majesty command?
THE QUEEN.
By heaven, my lords! it seems to me you all stand trembling around me! Upon my soul! must a woman show you your duty as noblemen? To horse, my lords, to horse! Are you afraid of the rabble? Are swords afraid of clubs?
SIMON RENARD.
Don't let things go any further. Yield, madame, while there is yet time. You can yet say "the rabble"; in an hour you will have to say "the people"!
[The cries increase, the noise comes nearer.
THE QUEEN.
In an hour!
SIMON RENARD (going to gallery and returning).
In a quarter of an hour, madame. The first wall of the Tower is broken down. One more step, the mob will be here.
THE PEOPLE.
To the Tower! to the Tower! Fabiani! death to Fabiani!
THE QUEEN.
How right they are who call the people terrible! Fabiano!
SIMON RENARD.
Do you want to see him torn to pieces before your eyes?
THE QUEEN.
Do you know this is infamous, that not one of you stirs? In the name of Heaven, defend me, my lords!
LORD CLINTON.
You? yes, madame. Fabiano? no!
THE QUEEN.
Very well, I will tell you all then, so much the worse for you. Fabiano is innocent. Fabiano never committed the crime for which he was condemned. It was I, and this man here, and the engraver Gilbert. We did it all; we invented it all; we imagined it all. It was all a farce! Contradict me if you dare, Sir Bailiff! Now, gentlemen, will you defend him? He is innocent; I swear it. On my head, on my crown, on my God, on my mother's soul, he is innocent of the crime. It is as true as that you stand there, Lord Clinton! Defend him! Annihilate these wretches as you annihilated Tom Wyatt, my brave Clinton, my old friend, my good Robert! I swear to you that it is false that Fabiano tried to assassinate the Queen.
LORD CLINTON.
There is another Queen whom he tried to assassinate—England!
[The cries continue outside.
THE QUEEN.
The balcony! Open the balcony. I myself will prove to the people that he is not guilty.
SIMON RENARD.
Prove to the people that he is not Italian.
THE QUEEN.
When I think it is Simon Renard, one of Cardinal Granvelle's creatures, who dares to speak to me like this! Well, open that door! open that cell! Fabiano is there. I want to see him; I want to speak to him.
SIMON RENARD (low).
What are you doing? For his own sake, you needn't let everybody know where he is.
THE PEOPLE.
Death to Fabiani! Long live Elizabeth!
SIMON RENARD.
They cry long live Elizabeth, now!
THE QUEEN.
My God! My God!
SIMON RENARD.
Choose, madame [with one hand he points to the cell], this head to the people [with the other hand he designates the crown whichthe Queenwears] or that crown to Madame Elizabeth.
THE PEOPLE.
Death! Death! Fabiani! Elizabeth!
[A stone breaks through a pane of glass nearThe Queen.
SIMON RENARD.
Your Majesty is destroying herself without saving him! The second court is reached. What does the Queen command?
THE QUEEN.
You are all cowards, and Clinton is the worst of all. Ah, Clinton, I will remember this, my friend!
SIMON RENARD.
What does the Queen command?
THE QUEEN.
Oh, to be abandoned by all of you! to have confessed all without obtaining anything! What sort of creatures are these noblemen here? That populace is infamous! I would like to crush them under my feet. There are times then, when a queen is nothing but a woman? You will pay dear for this, gentlemen!
SIMON RENARD.
What does the Queen command?
THE QUEEN (crushed).
Whatever you will. Do what you like. You are an assassin. [Aside.] Oh, Fabiano!
SIMON RENARD.
Clarence! Jarretiere! Come here! Master Eneas, open the great balcony of the gallery.
[The balcony in the back opens.Simon Renardsteps out upon it,Clarenceat his right,Jarretiereat his left. Immense tumult outside.
THE PEOPLE.
Fabiani! Fabiani!
SIMON RENARD (on the balcony, turned toward the people).
In the Queen's name!
HERALDS.
In the Queen's name!
[Profound silence outside.
SIMON RENARD.
People, the Queen bids you know this: To-day, this very night, one hour after the curfew, Fabiano Fabiani, Earl of Clanbrassil, covered with a black veil from head to foot, bound with an iron gag, a yellow wax candle weighing three pounds in his hand, will be led, by torchlight, from the Tower of London, through Charing Cross, to the old Market-Place of the city, there to be publicly punished and beheaded, for the crimes of high treason and attempt of regicide on the imperial person of the Queen!
[Immense applause outside.
THE PEOPLE.
Long live the Queen! Death to Fabiani!
SIMON RENARD (continuing).
And, in order that no one in this city of London shall ignore it, this is what the Queen orders during the entire journey, which the criminal must make from the Tower of London to the old Market-Place: The great bell of the Tower shall toll; at the moment of the execution, three cannon-shots will be fired—the first, when he mounts the scaffold; the second, when he kneels upon the black cloth; the third, when his head falls. [Applause.]
THE PEOPLE.
Illuminate! Illuminate!
SIMON RENARD.
This night the Tower and the city of London will be illuminated with lights and torches, in sign of joy. I have spoken. [Applause.] God protect the old charter of England!
THE TWO HERALDS.
God protect the old charter of England.
THE PEOPLE.
Death to Fabiani! Long live Mary! Long live the Queen!
[The balcony is closed.Simon RenardapproachesThe Queen.
SIMON RENARD.
What I have just done will never be forgiven me by the Princess Elizabeth!
THE QUEEN.
Nor by Queen Mary. Leave me, sir.
[She dismisses them all with a gesture.
SIMON RENARD (low toMaster Eneas).
Master Eneas, look to the execution!
MASTER ENEAS.
Count upon me!
[Simon Renardgoes out. AsMaster Eneasis about to go,The Queenrushes to him, seizes him by the arm and drags him violently to the front of the stage.
The Queen, Master Eneas
THE PEOPLE (outside).
Death to Fabiani! Fabiani! Fabiani!
THE QUEEN.
Whose head is worth most at this moment, do you think—Fabiani's or yours?
MASTER ENEAS.
Madame!
THE QUEEN.
You are a traitor!
MASTER ENEAS.
Madame! [Aside.] The devil!
THE QUEEN.
No explanations! I swear by my mother, if Fabiano dies, you die!
MASTER ENEAS.
But, madame—
THE QUEEN.
Save Fabiano, and you save yourself—not otherwise!
THE PEOPLE.
Death to Fabiani! Fabiani!
MASTER ENEAS.
Save the Earl of Clanbrassil? But the people are out there! It is impossible! By what means?
THE QUEEN.
Find some!
MASTER ENEAS.
What could I do?
THE QUEEN.
Do what you would for yourself.
MASTER ENEAS.
The people will keep armed until after the execution. To satisfy them, somebody must be beheaded!
THE QUEEN.
Anybody you please.
MASTER ENEAS.
Anybody I please? Wait, madame! The execution will be at night, by torchlight; the criminal covered with a black veil, gagged; the people kept a long way from the scaffold by the pike-men, the same as always. It is enough, if the people see a head fall. The thing is possible. If only the boatman is there yet! I told him not to hurry.
[He goes to the window which overlooks the Thames.
There he is, but we're just in time!
[He leans out of the window, a torch in his hand, waving his handkerchief, then he turns toThe Queen.
All right! I will answer for Lord Fabiani, madame!
THE QUEEN.
On your head?
MASTER ENEAS.
On my head!
PART II
Scene.—A hall or room into which lead two staircases, one ascending and the other descending. The entrance to each of these staircases fills a portion of the back of the stage. The one which ascends ends at the frieze; the one which descends ends underneath—neither the beginning nor the end is visible
The room is draped with black in a peculiar fashion. The wall on the right, the wall on the left, and the ceiling are covered with a black cloth on which is a large white cross; the background, which faces the spectator, with a white cloth and large black cross. These black and white draperies continue until they are lost to sight under the staircases. To the right and to the left, there is an altar draped with black and white, decorated as if for a funeral. Tall candles. No priests. A few funeral lamps, hanging here and there from the vaulted roof, light the room and the staircases feebly. What really lights the room is the great white cloth in the background, through which a reddish light shines as if there were a fiery furnace behind. The room is paved with tombstones. As the curtain rises, the motionless figure ofThe Queenis seen in black outline on this transparent cloth
Jane, Joshua.They enter cautiously through a little door behind the black draperies, which they push aside
JANE.
Where are we, Joshua?
JOSHUA.
On the great landing of the staircase down which the criminals go to execution. It was draped in this way under Henry VIII.
JANE.
No way of getting out of the Tower?
JOSHUA.
The people are on guard at every exit. They want to be sure of getting their criminal this time. No one can go out before the execution.
JANE.
The proclamation they made from the balcony rings in my ears yet. This is a horrible thing, Joshua.
JOSHUA.
Oh, I've seen many such!
JANE.
If only Gilbert has been able to escape. Do you think he is safe, Joshua?
JOSHUA.
I am sure of it.
JANE.
You are sure of it, good Joshua?
JOSHUA.
The Tower wasn't surrounded on the waterside. Then, when he started, the riot wasn't as bad as it was afterward. It was a fine riot, if you but knew it.
JANE.
You are sure that he is safe?
JOSHUA.
And waiting for you under the first arch of London Bridge, where you will meet him before midnight.
JANE.
Heaven! He will be anxious too.
[Seeing the shadow ofThe Queen.
My God! what is that, Joshua?
JOSHUA (low, taking her hand).
Silence! It is the lioness, on the watch.
[WhileJanelooks at this figure in horror, a distant voice, which seems to come from above, pronounces these words slowly and distinctly.
VOICE.
The man, covered with a black veil, who follows me, is the very high and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded at the London Market-Place, for the crimes of regicide and high treason. God have mercy on his soul!
ANOTHER VOICE.
Pray for him!
JANE (trembling).
Joshua, do you hear?
JOSHUA.
Yes, I hear such things every day.
[A funeral procession appears at the head of the staircase, and gradually forms itself on the steps as it descends. A man dressed in black is at the head, bearing a white banner with black cross. Next comesMaster Eneas Dulverton, wearing a great black cloak, holding his Constable's baton in his hand. Then a group of halberdiers, dressed in red; then a man in white, bearing black banner with white cross. To the right and to the left, halberdiers bearing torches.
JANE.
Do you see?
JOSHUA.
Yes, I see such things every day.
[As they are about to reach the stage the procession stops.
MASTER ENEAS.
The man, covered with a black veil, who follows me, is the very high and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded at the London Market-Place, for the crimes of regicide and high treason. God have mercy on his soul!
THE TWO STANDARD-BEARERS.
Pray for him!
[The procession slowly crosses the back of the stage.
JANE.
This is a terrible thing we are looking at, Joshua. It freezes my blood.
JOSHUA.
That abominable Fabiani!
JANE.
Peace, Joshua! Very abominable, but very unfortunate.
[The procession reaches the other staircase:Simon Renard, who appeared at the entrance of this staircase, some moments before, and has observed everything, moves aside to let them pass. The procession goes under the arch of the staircase, and gradually disappears.Jane, terrified, follows it with her eyes.
SIMON RENARD (after the procession has disappeared).
What does this mean? Is that really Fabiani? I thought him not so tall. Has Master Eneas?—It seems to me the Queen kept him near her for a moment. Let us see!
[He disappears under the staircase, following the procession.
VOICE (which grows fainter and fainter).
The man, covered with a black veil, who follows me, is the very high and mighty Lord Fabiano Fabiani, Earl of Clanbrassil, Baron of Dinasmonddy, Baron of Darmouth in Devonshire, who is to be beheaded at the London Market-Place, for the crimes of regicide and high treason.
OTHER VOICES (almost indistinct).
Pray for him!
JOSHUA.
The great bell will announce his exit from the Tower, presently. Perhaps you can make your escape now: I must try to find a way. Wait for me here: I will come back.
JANE.
Are you going to leave me, Joshua? I will be afraid here, all alone.
JOSHUA.
It will be dangerous for you to wander over the Tower with me. I must get you away from here. Remember Gilbert is waiting for you.
JANE.
Gilbert? Everything for Gilbert. Go!
[Joshuagoes out.
Oh, what a terrible sight!—when I think that it might have been like this for Gilbert.
[She kneels on one of the altar steps.
Oh, thank you! You are indeed God the Saviour. You have saved Gilbert.
[The cloth at the back opens.The Queenappears: she comes slowly to the front of the stage, without seeingJane, who turns around.
The Queen! My God!
Jane, The Queen. Janeclings to the altar, with horror, and fixes a look of stupor and terror onThe Queen'sface
THE QUEEN (she stands a few seconds at the front of the stage, her glance fixed, pale, as if absorbed in gloomy thoughts. At last she sighs profoundly).
Oh, the people!
[She looks around with anxiety and seesJane.
Some one is here. Oh, it is you, young woman! It is you, Lady Jane. I frighten you. Don't be afraid. You know the turnkey Eneas betrayed us. Don't be afraid. I have already told you, child, you have nothing to fear from me. What was your ruin a month ago is your salvation to-day. You love Fabiano. There are only you and I in the whole world to-day who have a heart like that. Only you and I love him. We are sisters.
JANE.
Madame—
THE QUEEN.
Yes, you and I—two women, we are all he has! Every one else is against him; a whole city, a whole nation, a whole world. Unequal struggle of love against hate. Love for Fabiano is a sad thing, a fatal, a horror-stricken thing: it has a pallid brow like yours, tear-filled eyes like mine; it hides itself close to a funereal altar; it entreats with your lips, it curses with mine. But hate for Fabiano is a proud thing, radiant, triumphant: it is well-armed and victorious; it has the Court, the people, the crowded streets; it munches cries of death and cries of joy at the same time; it is magnificent, haughty, powerful; it illuminates a whole city surrounding a scaffold. Love, here it is—two women weeping in a tomb! Hate, there it is!
[She pulls the white cloth violently aside, which reveals a balcony, and beyond the balcony, almost out of sight, the whole city of London, brilliantly illuminated. What is visible of the Tower of London is also illuminated.Janefixes her amazed eyes on this startling scene, the reflection of which lights up the theater.
THE QUEEN.
Oh, infamous city; rebellious city; accursed city; monstrous city—who soaks her holiday dress in blood, and who holds the torch for the executioner! You are afraid of it, aren't you, Jane? Doesn't it seem to you, as it does to me, that it cowardly defies us both; that it is watching us with its hundred thousand flaming eyes—us, feeble, forsaken women that we are, alone and lost in this sepulcher? Jane, do you hear it howl and laugh—that horrible city? Oh, England, all England to him who will destroy London! Would that I could change those torches into fiery brands, those lights into flames, and that illuminated city into a city offire!
[A tremendous outburst from the people outside—applause, confused cries, "There he is! There he is! Death toFabiani—" The great bell of the Tower begins to toll. At this sound,The Queenbreaks into a terrible peal of laughter.
JANE.
God! The unfortunate man is leaving the Tower!—You laugh, madame!
THE QUEEN.
Yes, I laugh! [She laughs.] Yes, and you will laugh, too. Let me drop those hangings first. It seems to me all the time as if we were not alone, as if that frightful city could see and hear us.
[She drops the white curtain and comes back toJane.
Now that he is gone, now that there is no more danger, I can tell you about it. Laugh, laugh, let us both laugh at those execrable people who drink blood! Oh, it is grand, Jane! Jane, you tremble for Fabiano? Be at ease, laugh with me, I tell you. Jane, the man they've got, the man who is going to die, the man they think is Fabiano—is not Fabiano.
[She laughs.]
JANE.
Not Fabiano?
THE QUEEN.
No!
JANE.
Then who is it?
THE QUEEN.
The other!
JANE.
What other?
THE QUEEN.
You know well enough! You know him—that workman—that man. Besides, what does it matter?
JANE (trembling with terror).
Gilbert?
THE QUEEN.
Yes, Gilbert! That is the name.
JANE.
Madame! Oh, no, madame! Don't say that, madame! Gilbert—it would be too horrible! He has escaped!
THE QUEEN.
He was escaping when they seized him. They put him under the black veil in Fabiano's place. It is night. The people won't know. Rest easy.
JANE (with a frightful cry).
Ah, madame! But the man I love—it is Gilbert!
THE QUEEN.
What? What do you say? Are you going crazy? Did you deceive me, too? Ah, it is Gilbert whom you love! Well, what does that matter to me?
JANE (atThe Queen'sfeet, broken-hearted, sobbing, dragging herself on her knees, her hands clasped: the great bell tolls through all this scene).
Madame—just for pity! Madame, in the name of Heaven! Madame, by your crown, by your mother, by the angels! Gilbert, Gilbert—it will make me mad! Madame, save Gilbert! That man, he is my life; that man, he is my husband; that man— I have told you that he did everything for me, that he brought me up, that he adopted me, that beside my cradle he took the place of my father, who died for your father. Madame, you see that I am a poor, wretched creature, and it isn't right to be too hard on me. What you said to me just now struck such a terrible blow that I don't truly see how it is I have strength to speak to you. I am just saying what I can, you see. But you must stop the execution—right away! Stop the execution! Put it off until to-morrow. Just time to have things understood, that is all. The people can wait until to-morrow, I know. We will see what we can do. No! don't shake your head! There is no danger for your Fabiano. You can put me in his place—under the black veil—at night. Who will know? But you must save Gilbert. What difference does it make whether it be he or I? And since—since I want to die! Oh, my God, that bell, that frightful bell! Every knell of that bell is a step toward the scaffold. Every knell of that bell strikes me full in the heart. Do it, madame. Be merciful! No danger for your Fabiano! Let me kiss your hands. I love you, madame. I never said it before—but I love you dearly. You are a great queen. See, how I kiss your beautiful hands! Give an order to stop the execution. There is time yet. I am sure we can do it. They go so slowly. It is a long way from the Tower to the old Market-Place. The man on the balcony said they would pass through Charing Cross. There is a quicker way. A man on horseback could get there. In Heaven's name, madame, be merciful! Try to put yourself in my place. Imagine that I am Queen and you the poor young woman; and you would weep as I do, and I would pardon. Pardon! Pardon! Oh, that is what I was afraid of, that my tears would hinder me from speaking! Oh, right away!—stop the execution! There won't be any trouble, madame; no danger for Fabiano, I swear it to you. Don't you really think you ought to do what I say, madame?
THE QUEEN (touched and lifting her up).
I wish I could, poor girl. Ah, yes, you are weeping as I wept; what you feel I have just felt myself, and my anguish makes me understand yours. Look! I am weeping too. It is very sad, my poor child. It seems to me, too, they might have taken somebody else—Tyrconnel, for instance. But he is too well known: they had to have some obscure man. He was the only one they could get hold of. I explain all this so that you can understand, don't you see? My God, there are fatalities like that: we get caught. We can't do anything.
JANE.
I am listening to you, madame. I am like you. I have got many things to say. But I would like to have the order to suspend the execution signed, and the man sent off. You see it would be finished then. We could talk better afterward. Oh, that bell! forever, that bell!
THE QUEEN.
What you want is impossible, Lady Jane.
JANE.
Oh, no, it is possible!—a man on horseback. There is a very short way—by the wharf. I can go—I— It is quite possible! It is easy! You see I talk very quietly.
THE QUEEN.
But the people won't have it. They will come back here and massacre everybody in the Tower. And Fabiano is here yet. Can't you understand? You are trembling, poor child. I am like you—I tremble also. In your turn, put yourself in my place. I might easily not take the trouble to explain all this to you. You see I do what I can. Don't think about this Gilbert any more. Jane, it is over— Resign yourself.
JANE.
Over! No, it is not over! No—as long as that horrible bell tolls, it is not over! Resign myself to Gilbert's death? Do you think I am going to let Gilbert die like that? No, madame! Ah, I am wasting my time! Ah, you won't listen to me! Very well, if the Queen won't hear me, the people will. They are good, the people—if you but knew it! They are in the court yet. You can do what you like with me afterward. I am going to tell them they are cheated; and that it is not Fabiani, it's a poor workman, named Gilbert—a workman like themselves!
THE QUEEN.
Stop, you wretched child!
[She seizes her arm and looks at her fixedly and resentfully.
This is the way you thank me, is it? I am patient and gentle with you, I weep with you—and all at once, you get wild and furious! Well, my love is just as great as yours, and my hand is more powerful! You shall not stir! Your lover!—what do I care for your lover? Are all the girls in England coming to ask me about their lovers, now? By my soul, I save my own as well as I can, and at the cost of everything which stands in his way. You must look after yours.
JANE.
Let me go! Oh, I curse you, you wretched, wicked woman!
THE QUEEN.
Hush!
JANE.
I will not hush! Do you want me to tell you what I'm thinking of now? I don't believe the man who is going to die out there is my Gilbert.
THE QUEEN.
What are you saying?
JANE.
I don't know, but I saw him pass by under that black veil; and if it had been my Gilbert, something would have stirred in me, something would have roused itself in my heart, and would have cried out to me, "Gilbert—it is Gilbert." But I felt nothing at all; it is not Gilbert.
THE QUEEN.
What are you saying? Ah, my God! you are crazy. What you have said is idiotic, but it terrifies me just the same. Ah, you have roused one of the secret terrors of my own heart! Why did that riot prevent me from looking after him myself? Why did I intrust to any one but myself the safety of my Fabiano? Eneas Dulverton is a traitor. Perhaps Simon Renard was there. What if I have been betrayed a second time by Fabiano's enemies? What if it is Fabiano himself? What, ho! quick—some one—come—some one!
[Two Jailers appear.
[To the first.] You—run! Here is my royal signet. Tell them to suspend the execution. To the old Market-Place; to the old Market-Place! There is a shorter way, you said, Jane.
JANE.
By the wharf.
THE QUEEN (to Jailer).
By the wharf. A horse—go quick!
[The Jailer goes out.
[To the second Jailer.] You—go at once to Edward the Confessor's Tower. The two cells of the condemned criminals are there. There is a man in one of them. Bring him here at once.
[The Jailer goes out.
I tremble; my knees sink under me; I have not strength enough to go myself. Ah, you have made me as mad as yourself! Miserable girl, you have made me as wretched as yourself. I curse you as you cursed me. My God, will the man get there in time? What a torturing anxiety! I can't see anything more. All is trouble in my soul. Does the bell toll yet? Is it for Gilbert? Is it for Fabiano?
JANE.
The bell ceases.
THE QUEEN.
Then the procession is on the place for the execution. Will the man get there in time?
[A cannon-shot is heard.
JANE.
Heaven!
THE QUEEN.
He is ascending the scaffold! [Second cannon.He is kneeling!
JANE.
It is horrible! [Third cannon.
BOTH.
Ah!
THE QUEEN.
There is only one alive now. In a moment we will know which one. My God, let the man who comes in be Fabiano!
JANE.
My God, let it be Gilbert!
[The curtain at the back opens.Simon Renardappears, holdingGilbertby the hand.
Gilbert! [They rush into each other's arms.
THE QUEEN.
And Fabiano?
SIMON RENARD.
Dead.
THE QUEEN.
Dead! Dead! Who has dared—
SIMON RENARD.
I have dared. I have saved the Queen of England.