The Project Gutenberg eBook ofThe Vampire Cat

The Project Gutenberg eBook ofThe Vampire CatThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: The Vampire CatAuthor: Gerard Van EttenRelease date: July 1, 2012 [eBook #40120]Most recently updated: October 23, 2024Language: EnglishCredits: Produced by Greg Bergquist and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)*** START OF THE PROJECT GUTENBERG EBOOK THE VAMPIRE CAT ***

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Vampire CatAuthor: Gerard Van EttenRelease date: July 1, 2012 [eBook #40120]Most recently updated: October 23, 2024Language: EnglishCredits: Produced by Greg Bergquist and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)

Title: The Vampire Cat

Author: Gerard Van Etten

Release date: July 1, 2012 [eBook #40120]Most recently updated: October 23, 2024

Language: English

Credits: Produced by Greg Bergquist and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously made available by TheInternet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK THE VAMPIRE CAT ***

Price 25 Cents

No.641

ART WORKERS LEAGUE

Author of "A Country Romance," "The Unknown Rival," "Humble Pie," etc.

Price, 25 cents

Here is a practical hand-book, describing in detail all the accessories, properties, scenes and apparatus necessary for an amateur production. In addition to the descriptions in words, everything is clearly shown in the numerous pictures, more than one hundred being inserted in the book. No such useful book has ever been offered to the amateur players of any country.CONTENTSChapter I.Introductory Remarks.Chapter II.Stage, How to Make, etc.In drawing-rooms or parlors, with sliding or hinged doors. In a single large room. The Curtain; how to attach it, and raise it, etc.Chapter III.Arrangement of Scenery.How to hang it. Drapery, tormentors, wings, borders, drops.Chapter IV.Box Scenes.Center door pieces, plain wings, door wings, return pieces, etc.Chapter V.How to Light the Stage.Oil, gas and electric light. Footlights, Sidelights, Reflectors. How to darken the stage, etc.Chapter VI.Stage Effects.Wind, Rain, Thunder, Breaking Glass, Falling Buildings, Snow, Water, Waves, Cascades, Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, Shots.Chapter VII.Scene Painting.Chapter VIII.A Word to the Property Man.Chapter IX.To the Stage Manager.Chapter X.The Business Manager.

Chapter I.Introductory Remarks.

Chapter II.Stage, How to Make, etc.In drawing-rooms or parlors, with sliding or hinged doors. In a single large room. The Curtain; how to attach it, and raise it, etc.

Chapter III.Arrangement of Scenery.How to hang it. Drapery, tormentors, wings, borders, drops.

Chapter IV.Box Scenes.Center door pieces, plain wings, door wings, return pieces, etc.

Chapter V.How to Light the Stage.Oil, gas and electric light. Footlights, Sidelights, Reflectors. How to darken the stage, etc.

Chapter VI.Stage Effects.Wind, Rain, Thunder, Breaking Glass, Falling Buildings, Snow, Water, Waves, Cascades, Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, Shots.

Chapter VII.Scene Painting.

Chapter VIII.A Word to the Property Man.

Chapter IX.To the Stage Manager.

Chapter X.The Business Manager.

Address Orders toTHE DRAMATIC PUBLISHING COMPANYCHICAGO, ILLINOIS

CHICAGOTHE DRAMATIC PUBLISHING COMPANY

Prince Hizen, Lord of NabeshimaBuzen, his chief councillorRuiten, a priestIto Soda, a common soldierKashiku, a maidO Toyo, wife of the princeTIME: Medieval Japan.SCENE: The room of O Toyo in the palace.TIME OF ACTION: Between 10 and 12 p.m.Note.—According to the old Japanese legend, the soulof a cat can enter a human being.

Scene.At R. is a dressing table, upon it a steel mirror, toilet articles, and two lighted candles with ornate shades. R. U. a section of shoji leads to another room, this section is now closed. At R. C. a large section of shoji is open, giving a view of the garden. To the R. of this entrance is a small shrine and Buddha. At L. of the room is a sleeping mat and head rest. By the head rest a lantern, now unlighted. Down L. is an open section of shoji leading to thePrince'sapartments. Just above it stands a screen. As the curtain rises thePrinceis standing R. C. looking out into the garden.Ruitenis down R. andBuzenslightly above him.Buzencrosses L.

Prince.[Comes down betweenRuitenandBuzen.]Settle for me tonightMy sicknesses and my fears—[ToBuzen.] Settle them for me,Sir Buzen, councillor crafty.[ToRuiten.] Settle them for me,Priest Ruiten, the prayerful.Ruiten.So are we trying in all waysThy pain to relieveYet nought seems availing.Prince.Wracked is my bodyWith tortures unendingBorn of the dreamsThat are surging foreverBackward and forwardThru my brain, weary.Buzen.[Indicating door L.] Around thy bed each nightHave I placed thy samuraiIn number one hundredTo guard thy sleep—Ruiten.Zealously have I prayedIn the temple called "Miyo In,"And during the night hoursHave knelt at thy house shrinePraying to Buddha, the lord of the world.Prince.Yet have I not sleptEntirely untortured.Slow are thy prayersIn fruit bearing.Ruiten.Slow because contending with evil—[Approaches Prince.]With evil in form strange and subtle.Over this house hangs a spiritNe'er resting and ready always for dire deeds.Prince.Such a spirit there must be—but what?Ruiten.Evil takes many forms but the form of a catIs favored by many devils.Prince.[Startled, the others watch him closely.] A cat—aye, trulyAnd if a cat stalked hereThat evil thing must we kill.Ruiten.Yet such is their power malignantThat they take other forms than the forms of cats—Even human forms.Prince.Ha!—And the spirit that visits me?Mayhap that—Only twice hath it failed of its visit.Buzen.And those lost visits, when?Prince.The last two nights.Buzen.[Swelling with pride.] Then, oh Prince, the cure may be found.Better than prayers is the cure [EyeingRuiten.]For prayers have not ears—have not eyes—Have not weapons—better than prayers is it.Prince.Tell me this cure. It is grudged, Sir Priest?Ruiten.[Bowing.] A cure for my lord could not be grudged.Prince.Well spoken. Say on, Sir Buzen.Buzen.First I must beg clemencyFor thy hundred samuraiFor faithful they are to the bone, yet—Prince.Yet? Why clemency? For what?Buzen.On guard, they slept.Prince.Slept?Buzen.Aye. Soundly as though deep in saki.Prince.And none roused?Buzen.They were as deadFrom shortly after the hour of tenUntil dawning.Awakening they knew they had sleptYet knew not when the poppy was thrown in their eyes.Even as one man none knewAnd were deep amazed and full of shame.Each night it was the same.Prince.[Angrily.] So, they slept.While I, on my couch,Through the hours writhed—Writhed and twisted—Weakening ever—Not sleep, yet dreaming—Oh, horrible dreams.Ruiten.Of what were these horrible dreams?What was their substance?Prince.[Mystified at the memory.] There would come a soft stealing—As of draperies hushed and liftedFor silence in walking;Like soft, silken draperiesWrapped about stealthy limbs.Then a shape clothed for sleepAs women are clothed—Sinuous and vague in movement,Then taking form slowly—The form—a lie!—a lie! [Covers his face and goes upstage.]Ruiten.The form?Prince.[Turns.] O Toyo!Ruiten.Buzen.[Rubbing their hands.] Ah!Prince.[Comes down R.,RuitenandBuzenare together a little L.]Came she to me—Leaned o'er me—Caressed meYet soothed not.Her lips to mine—Her lips but not sweet.Then here on my throatWould she place themAnd all my life seemed to smother—Out of me flowed the life-bloodIn a deep streamLike a tideForced by the gods,Against its will,To flow far away and yet farther.Buzen.So does a vampireSucking her victimDraw from himHis blood and his marrow.Prince.Guard thy words!—As my strength ebbedShe drew backRed-lipped and smiling,Smiling and laughingThough her laughter was silent.Then with a final shimmerOf silent silks she vanished—So was it done.Ruiten.So always the dream?If dream it were.Prince.The dream—I think yet it was a dream—So was it always.Buzen.But the last two nights?Prince.Came she as usualFlowing over the floorLike a spectre enrobedAnd beautified.But as she bent o'er meShe paused as if startledAnd, slowly gazing about,Turned and was gone.Last night she pausedAs if speaking to someoneThough I could see no one.Buzen.But the cause of her turning?Ruiten.Turned she startled—Turned she slowly—Turned she wonderingly?Prince.Slowly, as if she feltA strange presence.Ruiten.Feared she?Prince.She left me.Buzen.But trembling or calm?Prince.Calmly, as from a thing hatedAnd more powerful than sheWhom she would not rouse to action.Buzen.[Rubbing his hands.] Good.Prince.What is good?Buzen.That which thou speakest of.Prince.How so?Buzen.[Comes forward towards the Prince.] It proves that I have humbly succeeded—[Grudgingly.] Through the help of another, 'tis true—But yet succeeded in bringing my lord honorable help.Ruiten.Indeed it is so.Prince.Say on, very wise councillor.Buzen.[Puffing up.] Without more words than are fitThis then is the way of the cure.When long had thine illness ravaged and worn theeAnd many nights had you tossed by weird visions enthralled,No cures affecting, no prayers availing thee [Glances atRuiten.]Then councilled I with thy wise ones—And, too, with Priest Ruiten—Ruiten.I, you should name first,For without my prayers your wisdom was nought.Buzen.To continue briefly.All our heads together brought no solution—Prince.True, true.Buzen.[Bowing.] Humbly I acknowledge my headEmpty and brainless.Yet even from idiots lipsWisdom oft falls unexpectedAnd therefore more wonderful.Now it is told in old talesOf how Iyaiyasu met—Ruiten.Short, abrupt is thy tale.Prince.The cure, Sir Buzen,The hour passes.Buzen.[Bowing.] I crave honorable leniency.To be brief—Prince.Aye, brief.Buzen.Discouraged and sick at heartAt the sufferings of my great lord,I was retiring to my roomBy way of the gardenAnd the hour was the Hour of the Fox.I heard a splashing in the poolAnd drawing nearSaw a young soldier washing.I spoke to him asking,"Who art thou?""Retainer to my Lord Nabeshima,Prince of Hizen," he answered.Then talked I with him. Of thy sicknessWe talked. And he was ashamed of thy samurai's sleeping.He begged to be allowed to guard thy sleepAlso for, being a common soldier, it was not permitted.So earnestly talked he that I promised to consultWith the other councillors and see what could be done."So tell me your name, young sir," I said."Ito Soda is my name, honorable sir,And for your kind words I thank you."So I consulted and the result wasWe granted his request.Prince.And he, too, has watched the two nights past?Ruiten.Aye, and he slept notThough the samurai were heavy with sleep-fumes.Buzen.I will tell.Ruiten.[ElbowsBuzenout of the way and comes forward.] You are honorably hoarse.He slept not, as I say—Prince.How kept he awake?Since many slept spell-boundHow broke he the spell?Ruiten.With him he broughtOiled paper and laid itDown on the mattingSitting upon it.When o'er his eyes sleep stoleAnd wearily weighted themHe drew out his sharp dirkAnd in his thigh thrust itBy pain driving the poppy fumes off.Ever and again he twistedThe dirk in the raw woundAnd the thick blood-dropsSoiled not the mattingBecause of the oiled paper.Prince.Indeed this is no common soldier,This Ito Soda.Buzen.Indeed not—Ruiten.To continue—[Retires upstage, disgruntled.]Buzen.[Pushing forward.] As I was saying, oh Prince,His eyes never closed.During the Reign of the RatHe heard, in this room, O ToyoTossing and moaningAs if in great fear of somethingShe could not escape from.Even at the same momentAs the beginnings of her moaningsCame a cat-call from the garden—Then nearer—then ghostly paddingsAs of padded claws on matting,And an evil presence seemed hoveringAnd lurking near in the darkness.O Toyo gave a low scream—than all was silence.Soon she came stealthilyThrough the shoji—cat-like her step—Glassy her eyes—Claw-like her hands—Bent she over you with curled lips—Then she turned, even as you have said,And, seeing a waking watcher,Left as she came.Ruiten.[Comes down.] The second night of Ito Soda's watchingShe threatened him in low wordsBut he made as to stab herAnd she melted before himLaughing a little.And he heard the rustle of her garmentsAs she regained this roomThough he saw not her passage hither.Prince.Thicker with each word the horror about me.[Turns away to R.] Doubts to beliefs—beliefs to actions—Love unto hate. [Turns to them almost pleadingly.]Tell me it is not O Toyo.Buzen.I questioned her maid, Kashiku,And found that O Toyo's couchWas empty even at the timeOf the weird visit to thee.Prince.[Overwhelmed.] So, it was O Toyo!In the soul of a flower, a demon—On the sweet lips, poison.Buzen.There is only one course—Ruiten.The one road—Prince.And I take it!Buzen.[Moves toward door L.] The samurai are gathered.Prince.Summon Ito Soda. [Buzenexits L.]Ruiten.Hard is the fate of manHere on this dark earth.Many the shapes and the shadowsStalking abroad.Yet ever the gentle BuddhaFrom the Lotus Fields watchesAnd guards every life that lives.Prince.[Puts one hand onRuiten'sshoulder.] Priest, have not manyVampires bleeding themAnd dream it is another thing?Ruiten.The soul is often a vampire to the body.Prince.And that evil thing must we kill.Ito Soda.[Enters L., kneels before thePrince.Ruitentakes up R. a little andBuzenre-entering afterIto Sodagoes up C.]Honorable Prince, humbly I answer thy summons.Prince.Rise, Ito Soda.Faithful beyond words art thou,This know I as all hath been told me.No longer call thyself a common soldierBut a samurai of the Prince of Hizen.And the two swords will I give thee on the morrow.Ito Soda.On my knees I humbly thank thee. [Rises.]Prince.Now time presses.O Toyo will be comingIn from the garden.As usual shall the hundred sleepy samuraiGuard my couch. Let Ito SodaRemain here hidden and watchful.When O Toyo rises to enter my chamber—Your dirk is sharp, Ito Soda?Ito Soda.[Draws dirk.] As a moonbeam on a cold night.Prince.And you know how to use it.Ito Soda.I will place this screen, thus. [Goes to screen L. and opens it so as to form a hiding place between the sleeping mat and the door L.]So will I wait the moment.Prince.So be it. It is a good planAnd on the one road. Let us about it. [Exits L. followed byBuzenandRuiten.Ito Sodagoesbehind the screen.O Toyois heard singing in the garden.]O Toyo.[Outside.] Moonlit convulvusThrough the night hoursWan are their facesGhostly sweet.Richer by daylightDrinking of sunshineAs thirsty souls drinkAt a shrine.Fair are the facesGlassed in the quiet poolsMaidens low-bendingVain ones.[The singing stops abruptly.] Kashiku, is not that a catStealing stealthily there?She snarls—quick—[O Toyoenters B. C. quickly and very frightened, turns and looks back, hurriesKashikuin.Kashikufollows much less disturbed at any fear of a cat than over her mistress' fright.]Kashiku.[Shuts the shoji R. C. and comes toO Toyo.] You are all atremble.O Toyo.Quick, let me be safe in slumber. [Crosses to dressing table.]Kashiku.[Follows her and attends to her hair whileO Toyokneels before the glass.] Several nights lately have I heard my lady moaningAs though even in sleep were she troubled.The worry over your honorable lord hath disturbed thee.O Toyo.Your ears are over keen.I am happy when I sleep.How can I moan, being happy?You are dull.Kashiku.Perhaps it was the wind or the echo of my lord's moaning.O Toyo.Moaning or was it singing?I would it were singingFor singing is sweeterOn the lips of those dying.Kashiku.Dying?O Toyo.When those whom we love are passing—Even under our hands are passing—And our love weans them from lifeAnd our kisses suck out the blood-life,Then would we touch them no more,Then would we kiss them no more,But a power greater than weAnd a power that we fearForces us on in our love-killing.Kashiku.There is in your voice a vibration, as even the winds in the pine-topsWhen, in the autumn, they echo the summer's death-song;There is in your eyes a strange light as if the soul of anotherLooked out from your curtaining lashes and dimmed the sweet light there abiding.Oh, mistress, surely you are different than what you once were.O Toyo.[Crosses C. slowly.] Even now comes the hour and the struggleAnd I do the bidding of that which is in me.How I hate the feel of his fleshQuivering under my lipsAnd the loathsome taste of the blood-dropsThick on my lips that would soothe him and cannot.Kashiku.Can anything soothe more than thy lips,More than the lips that love him?I cannot understand the words of your saying.You are happy and tearful all in a moment,Your soul seems a sky full of sunshine and clouds.[Coming to her.] Even now as my hand touches you, you are trembling.Is it the cat that crept upon usWhose shape still affrights you?O Toyo.Thou hast said it—My soul is as thou sayest.My dreams are sweet and again bitter.Once came a dream horrible above all dreams.Kashiku.What dream, my lady?O Toyo.The night when you found me there on the floor.Do you remember?Kashiku.Well. You were all distraught and the bosom of your gownWas torn open and you clutched your throatAs if you were wounded there. But there was no mark.And you let wild words fall from your lipsAnd none knew their meaning.O Toyo.The Prince and I walked in the gardenAnd there at the shoji I left him.As I enteredThere enteredWith me a spiritAnd its breath fell upon me—Dumb my tongue in my mouthAnd frozen my marrow.Suddenly it leapt upon meAnd as I fell downwardFlashed the spirit into mine eyes—A cat, two-tailed and hairy—And it's teeth sank in my throat here—Can you see a mark? [Exposes her throat toKashiku.]Kashiku.The skin is as smooth as satin and perfect.O Toyo.Then came darkness upon me—and so you found me.So strong is the dream within meI wonder if it be a dream or no.Kashiku.You had walked that evening in the garden.O Toyo.I had rather dreamed I walked—say I dreamed it.Kashiku.The Prince was with—O Toyo.Yet it was a dream, question it not.I would go to rest peacefully.He, too, shall rest peacefully—I shall not kiss my lord tonight. [Crosses L.]Kashiku.Not kiss him?O Toyo.I think not I shall kiss him.I would not pain his slumbers—He has paled so and his face is so thin.In the night he lies like a strong flowerAnd a strange flower, bled of its life—Like a strong flower weakened.And at its sight my dreams are bitter.But as I gaze a change comes over all thingsAnd I hold in my hands a beautiful flowerWhich I kiss with my lipsHolding my lips long to it,Draining its sweetness.And a cloud passes overAnd on my lips are clots of blood!Kashiku.Such dreamings are not good.I find the silken coverlets tossed in the morning,Twisted and thrown about as if you slept ill.O Toyo.It is not O Toyo who tosses them—It is the dream O Toyo.Kashiku.Two nights lately have I imagined you called to meBut entering you were not here—but there with your lord soothing his sufferings.O Toyo.Drinking at strange fountains and unknown springs—Drinking of sacred waters sacred to unknown gods.And as I drink another life becomes my lifeAnd he is mine—utterly mine, at last!Kashiku.You frighten me—O Toyo.Be not frightened—you have no need.Now I shall sleep.He, too, is sleeping. Perhaps—perhaps he is suffering.Shall I touch him with my hands?Perhaps he is hungry for my kisses—Shall I kiss him?Kashiku.It were a fitting thing to kiss thy lord.O Toyo.You know not what you say, Kashiku.Kashiku.My lady—O Toyo.You have not heard me say strange things, Kashiku.Kashiku.I have heard—O Toyo.Nothing.Kashiku.Nothing, my lady.O Toyo.Put out the lamps. [Kashikublows out candles on dressing table.]Go now, Kashiku, and do you sleep deeply,Breathing poppies.Kashiku.My lady—O Toyo.Go. [Kashikuopens shoji R. and goes out shutting it after her.O Toyocrosses, too, and lies on the sleeping mat. The room is almost in total darkness.]O Toyo.I shall kiss him—I shall kiss him! [The lantern at the head of the sleeping mat glows more and more brightly until a cat's head appears on it. At this moment a cat-call comes from the garden.(Note.—If these effects cannot be gotten with no hint of the ludicrous, have the lantern glow with increasing light but use no cat's head or cat call.)With the increase of light,O Toyohas begun to moan and toss and at the moment of the cat-call she rises as in a trance and goes towards the door L. As she passes the screenIto Sodasteps out from behind it and plunges his dirk into her back; she falls with a little, stifled cry. Instantly, in utter darkness, the curtain falls.]

Ruiten.So are we trying in all waysThy pain to relieveYet nought seems availing.

Prince.Wracked is my bodyWith tortures unendingBorn of the dreamsThat are surging foreverBackward and forwardThru my brain, weary.

Buzen.[Indicating door L.] Around thy bed each nightHave I placed thy samuraiIn number one hundredTo guard thy sleep—

Ruiten.Zealously have I prayedIn the temple called "Miyo In,"And during the night hoursHave knelt at thy house shrinePraying to Buddha, the lord of the world.

Prince.Yet have I not sleptEntirely untortured.Slow are thy prayersIn fruit bearing.

Ruiten.Slow because contending with evil—[Approaches Prince.]With evil in form strange and subtle.Over this house hangs a spiritNe'er resting and ready always for dire deeds.

Prince.Such a spirit there must be—but what?

Ruiten.Evil takes many forms but the form of a catIs favored by many devils.

Prince.[Startled, the others watch him closely.] A cat—aye, trulyAnd if a cat stalked hereThat evil thing must we kill.

Ruiten.Yet such is their power malignantThat they take other forms than the forms of cats—Even human forms.

Prince.Ha!—And the spirit that visits me?Mayhap that—Only twice hath it failed of its visit.

Buzen.And those lost visits, when?

Prince.The last two nights.

Buzen.[Swelling with pride.] Then, oh Prince, the cure may be found.Better than prayers is the cure [EyeingRuiten.]For prayers have not ears—have not eyes—Have not weapons—better than prayers is it.

Prince.Tell me this cure. It is grudged, Sir Priest?

Ruiten.[Bowing.] A cure for my lord could not be grudged.

Prince.Well spoken. Say on, Sir Buzen.

Buzen.First I must beg clemencyFor thy hundred samuraiFor faithful they are to the bone, yet—

Prince.Yet? Why clemency? For what?

Buzen.On guard, they slept.

Prince.Slept?

Buzen.Aye. Soundly as though deep in saki.

Prince.And none roused?

Buzen.They were as deadFrom shortly after the hour of tenUntil dawning.Awakening they knew they had sleptYet knew not when the poppy was thrown in their eyes.Even as one man none knewAnd were deep amazed and full of shame.Each night it was the same.

Prince.[Angrily.] So, they slept.While I, on my couch,Through the hours writhed—Writhed and twisted—Weakening ever—Not sleep, yet dreaming—Oh, horrible dreams.

Ruiten.Of what were these horrible dreams?What was their substance?

Prince.[Mystified at the memory.] There would come a soft stealing—As of draperies hushed and liftedFor silence in walking;Like soft, silken draperiesWrapped about stealthy limbs.Then a shape clothed for sleepAs women are clothed—Sinuous and vague in movement,Then taking form slowly—The form—a lie!—a lie! [Covers his face and goes upstage.]

Ruiten.The form?

Prince.[Turns.] O Toyo!

Ruiten.Buzen.[Rubbing their hands.] Ah!

Prince.[Comes down R.,RuitenandBuzenare together a little L.]Came she to me—Leaned o'er me—Caressed meYet soothed not.Her lips to mine—Her lips but not sweet.Then here on my throatWould she place themAnd all my life seemed to smother—Out of me flowed the life-bloodIn a deep streamLike a tideForced by the gods,Against its will,To flow far away and yet farther.

Buzen.So does a vampireSucking her victimDraw from himHis blood and his marrow.

Prince.Guard thy words!—As my strength ebbedShe drew backRed-lipped and smiling,Smiling and laughingThough her laughter was silent.Then with a final shimmerOf silent silks she vanished—So was it done.

Ruiten.So always the dream?If dream it were.

Prince.The dream—I think yet it was a dream—So was it always.

Buzen.But the last two nights?

Prince.Came she as usualFlowing over the floorLike a spectre enrobedAnd beautified.But as she bent o'er meShe paused as if startledAnd, slowly gazing about,Turned and was gone.Last night she pausedAs if speaking to someoneThough I could see no one.

Buzen.But the cause of her turning?

Ruiten.Turned she startled—Turned she slowly—Turned she wonderingly?

Prince.Slowly, as if she feltA strange presence.

Ruiten.Feared she?

Prince.She left me.

Buzen.But trembling or calm?

Prince.Calmly, as from a thing hatedAnd more powerful than sheWhom she would not rouse to action.

Buzen.[Rubbing his hands.] Good.

Prince.What is good?

Buzen.That which thou speakest of.

Prince.How so?

Buzen.[Comes forward towards the Prince.] It proves that I have humbly succeeded—[Grudgingly.] Through the help of another, 'tis true—But yet succeeded in bringing my lord honorable help.

Ruiten.Indeed it is so.

Prince.Say on, very wise councillor.

Buzen.[Puffing up.] Without more words than are fitThis then is the way of the cure.When long had thine illness ravaged and worn theeAnd many nights had you tossed by weird visions enthralled,No cures affecting, no prayers availing thee [Glances atRuiten.]Then councilled I with thy wise ones—And, too, with Priest Ruiten—

Ruiten.I, you should name first,For without my prayers your wisdom was nought.

Buzen.To continue briefly.All our heads together brought no solution—

Prince.True, true.

Buzen.[Bowing.] Humbly I acknowledge my headEmpty and brainless.Yet even from idiots lipsWisdom oft falls unexpectedAnd therefore more wonderful.Now it is told in old talesOf how Iyaiyasu met—

Ruiten.Short, abrupt is thy tale.

Prince.The cure, Sir Buzen,The hour passes.

Buzen.[Bowing.] I crave honorable leniency.To be brief—

Prince.Aye, brief.

Buzen.Discouraged and sick at heartAt the sufferings of my great lord,I was retiring to my roomBy way of the gardenAnd the hour was the Hour of the Fox.I heard a splashing in the poolAnd drawing nearSaw a young soldier washing.I spoke to him asking,"Who art thou?""Retainer to my Lord Nabeshima,Prince of Hizen," he answered.Then talked I with him. Of thy sicknessWe talked. And he was ashamed of thy samurai's sleeping.He begged to be allowed to guard thy sleepAlso for, being a common soldier, it was not permitted.So earnestly talked he that I promised to consultWith the other councillors and see what could be done."So tell me your name, young sir," I said."Ito Soda is my name, honorable sir,And for your kind words I thank you."So I consulted and the result wasWe granted his request.

Prince.And he, too, has watched the two nights past?

Ruiten.Aye, and he slept notThough the samurai were heavy with sleep-fumes.

Buzen.I will tell.

Ruiten.[ElbowsBuzenout of the way and comes forward.] You are honorably hoarse.He slept not, as I say—

Prince.How kept he awake?Since many slept spell-boundHow broke he the spell?

Ruiten.With him he broughtOiled paper and laid itDown on the mattingSitting upon it.When o'er his eyes sleep stoleAnd wearily weighted themHe drew out his sharp dirkAnd in his thigh thrust itBy pain driving the poppy fumes off.Ever and again he twistedThe dirk in the raw woundAnd the thick blood-dropsSoiled not the mattingBecause of the oiled paper.

Prince.Indeed this is no common soldier,This Ito Soda.

Buzen.Indeed not—

Ruiten.To continue—[Retires upstage, disgruntled.]

Buzen.[Pushing forward.] As I was saying, oh Prince,His eyes never closed.During the Reign of the RatHe heard, in this room, O ToyoTossing and moaningAs if in great fear of somethingShe could not escape from.Even at the same momentAs the beginnings of her moaningsCame a cat-call from the garden—Then nearer—then ghostly paddingsAs of padded claws on matting,And an evil presence seemed hoveringAnd lurking near in the darkness.O Toyo gave a low scream—than all was silence.Soon she came stealthilyThrough the shoji—cat-like her step—Glassy her eyes—Claw-like her hands—Bent she over you with curled lips—Then she turned, even as you have said,And, seeing a waking watcher,Left as she came.

Ruiten.[Comes down.] The second night of Ito Soda's watchingShe threatened him in low wordsBut he made as to stab herAnd she melted before himLaughing a little.And he heard the rustle of her garmentsAs she regained this roomThough he saw not her passage hither.

Prince.Thicker with each word the horror about me.[Turns away to R.] Doubts to beliefs—beliefs to actions—Love unto hate. [Turns to them almost pleadingly.]Tell me it is not O Toyo.

Buzen.I questioned her maid, Kashiku,And found that O Toyo's couchWas empty even at the timeOf the weird visit to thee.

Prince.[Overwhelmed.] So, it was O Toyo!In the soul of a flower, a demon—On the sweet lips, poison.

Buzen.There is only one course—

Ruiten.The one road—

Prince.And I take it!

Buzen.[Moves toward door L.] The samurai are gathered.

Prince.Summon Ito Soda. [Buzenexits L.]

Ruiten.Hard is the fate of manHere on this dark earth.Many the shapes and the shadowsStalking abroad.Yet ever the gentle BuddhaFrom the Lotus Fields watchesAnd guards every life that lives.

Prince.[Puts one hand onRuiten'sshoulder.] Priest, have not manyVampires bleeding themAnd dream it is another thing?

Ruiten.The soul is often a vampire to the body.

Prince.And that evil thing must we kill.

Ito Soda.[Enters L., kneels before thePrince.Ruitentakes up R. a little andBuzenre-entering afterIto Sodagoes up C.]Honorable Prince, humbly I answer thy summons.

Prince.Rise, Ito Soda.Faithful beyond words art thou,This know I as all hath been told me.No longer call thyself a common soldierBut a samurai of the Prince of Hizen.And the two swords will I give thee on the morrow.

Ito Soda.On my knees I humbly thank thee. [Rises.]

Prince.Now time presses.O Toyo will be comingIn from the garden.As usual shall the hundred sleepy samuraiGuard my couch. Let Ito SodaRemain here hidden and watchful.When O Toyo rises to enter my chamber—Your dirk is sharp, Ito Soda?

Ito Soda.[Draws dirk.] As a moonbeam on a cold night.

Prince.And you know how to use it.

Ito Soda.I will place this screen, thus. [Goes to screen L. and opens it so as to form a hiding place between the sleeping mat and the door L.]So will I wait the moment.

Prince.So be it. It is a good planAnd on the one road. Let us about it. [Exits L. followed byBuzenandRuiten.Ito Sodagoesbehind the screen.O Toyois heard singing in the garden.]

O Toyo.[Outside.] Moonlit convulvusThrough the night hoursWan are their facesGhostly sweet.

Richer by daylightDrinking of sunshineAs thirsty souls drinkAt a shrine.

Fair are the facesGlassed in the quiet poolsMaidens low-bendingVain ones.

[The singing stops abruptly.] Kashiku, is not that a catStealing stealthily there?She snarls—quick—[O Toyoenters B. C. quickly and very frightened, turns and looks back, hurriesKashikuin.Kashikufollows much less disturbed at any fear of a cat than over her mistress' fright.]

Kashiku.[Shuts the shoji R. C. and comes toO Toyo.] You are all atremble.

O Toyo.Quick, let me be safe in slumber. [Crosses to dressing table.]

Kashiku.[Follows her and attends to her hair whileO Toyokneels before the glass.] Several nights lately have I heard my lady moaningAs though even in sleep were she troubled.The worry over your honorable lord hath disturbed thee.

O Toyo.Your ears are over keen.I am happy when I sleep.How can I moan, being happy?You are dull.

Kashiku.Perhaps it was the wind or the echo of my lord's moaning.

O Toyo.Moaning or was it singing?I would it were singingFor singing is sweeterOn the lips of those dying.

Kashiku.Dying?

O Toyo.When those whom we love are passing—Even under our hands are passing—And our love weans them from lifeAnd our kisses suck out the blood-life,Then would we touch them no more,Then would we kiss them no more,But a power greater than weAnd a power that we fearForces us on in our love-killing.

Kashiku.There is in your voice a vibration, as even the winds in the pine-topsWhen, in the autumn, they echo the summer's death-song;There is in your eyes a strange light as if the soul of anotherLooked out from your curtaining lashes and dimmed the sweet light there abiding.Oh, mistress, surely you are different than what you once were.

O Toyo.[Crosses C. slowly.] Even now comes the hour and the struggleAnd I do the bidding of that which is in me.How I hate the feel of his fleshQuivering under my lipsAnd the loathsome taste of the blood-dropsThick on my lips that would soothe him and cannot.

Kashiku.Can anything soothe more than thy lips,More than the lips that love him?I cannot understand the words of your saying.You are happy and tearful all in a moment,Your soul seems a sky full of sunshine and clouds.[Coming to her.] Even now as my hand touches you, you are trembling.Is it the cat that crept upon usWhose shape still affrights you?

O Toyo.Thou hast said it—My soul is as thou sayest.My dreams are sweet and again bitter.Once came a dream horrible above all dreams.

Kashiku.What dream, my lady?

O Toyo.The night when you found me there on the floor.Do you remember?

Kashiku.Well. You were all distraught and the bosom of your gownWas torn open and you clutched your throatAs if you were wounded there. But there was no mark.And you let wild words fall from your lipsAnd none knew their meaning.

O Toyo.The Prince and I walked in the gardenAnd there at the shoji I left him.As I enteredThere enteredWith me a spiritAnd its breath fell upon me—Dumb my tongue in my mouthAnd frozen my marrow.Suddenly it leapt upon meAnd as I fell downwardFlashed the spirit into mine eyes—A cat, two-tailed and hairy—And it's teeth sank in my throat here—Can you see a mark? [Exposes her throat toKashiku.]

Kashiku.The skin is as smooth as satin and perfect.

O Toyo.Then came darkness upon me—and so you found me.So strong is the dream within meI wonder if it be a dream or no.

Kashiku.You had walked that evening in the garden.

O Toyo.I had rather dreamed I walked—say I dreamed it.

Kashiku.The Prince was with—

O Toyo.Yet it was a dream, question it not.I would go to rest peacefully.He, too, shall rest peacefully—I shall not kiss my lord tonight. [Crosses L.]

Kashiku.Not kiss him?

O Toyo.I think not I shall kiss him.I would not pain his slumbers—He has paled so and his face is so thin.In the night he lies like a strong flowerAnd a strange flower, bled of its life—Like a strong flower weakened.And at its sight my dreams are bitter.But as I gaze a change comes over all thingsAnd I hold in my hands a beautiful flowerWhich I kiss with my lipsHolding my lips long to it,Draining its sweetness.And a cloud passes overAnd on my lips are clots of blood!

Kashiku.Such dreamings are not good.I find the silken coverlets tossed in the morning,Twisted and thrown about as if you slept ill.

O Toyo.It is not O Toyo who tosses them—It is the dream O Toyo.

Kashiku.Two nights lately have I imagined you called to meBut entering you were not here—but there with your lord soothing his sufferings.

O Toyo.Drinking at strange fountains and unknown springs—Drinking of sacred waters sacred to unknown gods.And as I drink another life becomes my lifeAnd he is mine—utterly mine, at last!

Kashiku.You frighten me—

O Toyo.Be not frightened—you have no need.Now I shall sleep.He, too, is sleeping. Perhaps—perhaps he is suffering.Shall I touch him with my hands?Perhaps he is hungry for my kisses—Shall I kiss him?

Kashiku.It were a fitting thing to kiss thy lord.

O Toyo.You know not what you say, Kashiku.

Kashiku.My lady—

O Toyo.You have not heard me say strange things, Kashiku.

Kashiku.I have heard—

O Toyo.Nothing.

Kashiku.Nothing, my lady.

O Toyo.Put out the lamps. [Kashikublows out candles on dressing table.]Go now, Kashiku, and do you sleep deeply,Breathing poppies.

Kashiku.My lady—

O Toyo.Go. [Kashikuopens shoji R. and goes out shutting it after her.O Toyocrosses, too, and lies on the sleeping mat. The room is almost in total darkness.]

O Toyo.I shall kiss him—I shall kiss him! [The lantern at the head of the sleeping mat glows more and more brightly until a cat's head appears on it. At this moment a cat-call comes from the garden.(Note.—If these effects cannot be gotten with no hint of the ludicrous, have the lantern glow with increasing light but use no cat's head or cat call.)With the increase of light,O Toyohas begun to moan and toss and at the moment of the cat-call she rises as in a trance and goes towards the door L. As she passes the screenIto Sodasteps out from behind it and plunges his dirk into her back; she falls with a little, stifled cry. Instantly, in utter darkness, the curtain falls.]

The importance of an effective make-up is becoming more apparent to the professional actor every year, but hitherto there has been no book on the subject describing the modern methods and at the same time covering all branches of the art. This want has now been filled. Mr. Hageman has had an experience of twenty years as actor and stage-manager, and his well-known literary ability has enabled him to put the knowledge so gained into shape to be of use to others. The book is an encyclopedia of the art of making up. Every branch of the subject is exhaustively treated, and few questions can be asked by professional or amateur that cannot be answered by this admirable hand-book. It is not only the best make-up book ever published, but it is not likely to be superseded by any other. It is absolutely indispensable to every ambitious actor.CONTENTSChapter I.General Remarks.Chapter II.Grease-Paints, their origin, components and use.Chapter III.The Make-up Box.Grease-Paints, Mirrors, Face Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream.Chapter IV.Preliminaries before Making up; the Straight Make-up and how to remove it.Chapter V.Remarks to Ladies.Liquid Creams, Rouge, Lips, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up.Chapter VI.Juveniles.Straight Juvenile Make-up, Society Men, Young Men in Ill Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc.Chapter VII.Adults, Middle Aged and Old Men.Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy, Old Age, Ruddy Complexions.Chapter VIII.Comedy and Character Make-ups.Comedy Effects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death.Chapter IX.The Human Features.The Mouth and Lips, the Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth.Chapter X.Other Exposed Parts of the Human Anatomy.Chapter XI.Wigs, Beards, Moustaches, and Eyebrows.Choosing a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows.Chapter XII.Distinctive and Traditional Characteristics.North American Indians, New England Farmers, Hoosiers, Southerners, Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers during Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandinavians, Germans, Hollanders, Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abyssinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues.

Chapter I.General Remarks.

Chapter II.Grease-Paints, their origin, components and use.

Chapter III.The Make-up Box.Grease-Paints, Mirrors, Face Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, Cold Cream, Cocoa Butter, Recipes for Cold Cream.

Chapter IV.Preliminaries before Making up; the Straight Make-up and how to remove it.

Chapter V.Remarks to Ladies.Liquid Creams, Rouge, Lips, Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up.

Chapter VI.Juveniles.Straight Juvenile Make-up, Society Men, Young Men in Ill Health, with Red Wigs, Rococo Make-up, Hands, Wrists, Cheeks, etc.

Chapter VII.Adults, Middle Aged and Old Men.Ordinary Type of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy, Old Age, Ruddy Complexions.

Chapter VIII.Comedy and Character Make-ups.Comedy Effects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death.

Chapter IX.The Human Features.The Mouth and Lips, the Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth.

Chapter X.Other Exposed Parts of the Human Anatomy.

Chapter XI.Wigs, Beards, Moustaches, and Eyebrows.Choosing a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, Beards for Tramps, Moustaches, Eyebrows.

Chapter XII.Distinctive and Traditional Characteristics.North American Indians, New England Farmers, Hoosiers, Southerners, Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers during Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers, Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, Portuguese, South Americans, Scandinavians, Germans, Hollanders, Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abyssinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues.

Address Orders toTHE DRAMATIC PUBLISHING COMPANYCHICAGO, ILLINOIS

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