Pric Pygmalion and Galate; by W. S. Gilbert. CHICAGO- •TMC a«4'MiATrt: PUBLISHING O^MPANY* The Dramatic Publishing Company, Chicago. THE MERRY COBBLER, j Comedy Drama in Four Acts ' BY JOHN A. FRASER, Jr. 3ix male, five female characters. Two interior, two exterior scenes. Mod- eostumes. Time of play, one hour and forty-five minutes. This refined, aughter-making comedy, in which John R. Cumpson starred successfally }everal seasons, has been carefully revised by the author for the amateur e. This romantic story of a German imigrant boy in New Orleans, who . 1 in love with, and finally marries, a dashing Southern belle, is one of the nest and daintiest in the whole repertoire of the minor stage. In addition le Merry Cobbler himself, who is one of the type the late J. K. Emmot so ' d to portray, there are five other male characters, five female parts and short parts for two little girls. Had the piece been originally written the use of amateurs, it could not have been happier in its results, its natural mirth-provoking comedy combined with a strong undercurrent of heart- rest, rendering it a vehicle with which even inexperienced actors are sure e seen at their best. The scenic effects are of the simplest description and climaxes, while possessing the requisite amount of "thrill" are very easy andle. This piece has been seen in all the larger cities of the Union dur- the past four seasons, and is now placed within the reach of amateurs for first time. J. A. Fraser, Jr., author of " The Merry Cobbler," and a score ther successful plays, has prepared elaborate instructions for its production ,mateur players. Price, 25 cents. V DELICATE QUESTION, Comedy Drama in Four Acts BY JOHN A. FRASER, Jr. ine male, three female characters. One exterior, two interior scenes, rn costumes. Plays two hours. If a play presenting an accurate picture ) in the rural districts is required, in which every character has been faith- studied from life, nothing better for the use of amateurs than "A Delicate ion " can be recommended. The story is utterly unlike that of any other nd deals with the saloon, which it handles without gloves and at the :ime without a single line of sermonizing. What "Ten Nights in a Bar- ' was to the public of a past generation, "A Delicate Question" is des- to be to the present, although it is far from being exactly what is known temperance play," The plot is intensely interesting, the pathetic scenes : beauty, because they are mental photographs from nature, and the com- simply uproariously funny. The parts, very equally balanced. The : effects are quite simple, and by a little ingenuity the entire piece may yed in a kitchen scene. The climaxes are all as novel as they are effec- ad the dialogue is as natural as if the characters were all real people, uthor, J. A. Fraser. Jr., considers this one of his greatest successes. 25 c( ntb. . , THE VOELD ACTiytr DEAMA. PYGMALION AND GALATEA. AN ORIGINAL MYTHOLOGICAL COMEDY. IN THREE ACTS. BY W. S. GILBERT. CHICAGO: DRAMATIC PUBLISHIIS^G COMPANr. c 1 % ^ b ^^ PYGMALION AND GALATEA. , ?1{4^I3 JJMJMATIS PEIiSON^. ^^n Gnginal, IS S4 Ilaumarket^ Lydum. London, London, Dec. Wi, 1871. Dec. 8th, 1883. Pygmalion- (an Alhenlan 6(7//v>/o/).\[r. W. II. Kendal. Mr. J. H. Batnee. LEucuTi] (« soldl(-r) :Mr. Howe. Mr. F. H. Mackliu. C'navsos {an. art i>ai I'on) >.Ir. J. B. Buckstone. Mr. II. Kerable. AiiEsiMos (rA/',/.svys- s'(irf) Mr. Braid. Mr. E. T. March. Minos {Pi/qindJ inn's >/,. / v- Mr. Wcatliursb3\ Mr. Arthur Lewis. Galatea {(in aohnaUd sialuc) Mies M. Robertson. Mies Mary Anderson. Cynisca {Pyqmalibh'i'. wife) Miss Caroline Hill. Miss Amy Rosellc. Daphne {Chnjsos'' wife) Mrs. Chippendale. Mrs. Arthur Stirling. Myeine {P yg medio iCs sister) Miss Merton. Miss Annie Rose. SCENE: PYOM ALIGNS STUDIO. {The actioih /.s compnaed within the .space of iweniy-four hours. Lime occujricd in representation^ one hour and fliree-quariers.] >;oTE.— The statue of Galatea should be modelled expressly to resemble the hidy who !)lay8 the part. If this is impracticable, some existing statue may be used, Ijut it is esseutial that its drapery should be perfectly modest juid Himpl(>. The "ch;iuae" from tlie statue to the living person is most cojivciiion.tiy etlcjcted by me:ius of a propeiiy counter weighted "turu-table/'' Oil winch She actress and statue iire placed back to back, with what is techni- cally known as a '•hacking"' lietweeu them. The two curtains that conceal tiie statute should " travel" on two separate but parallel iron rods, three inches apart, and the curtams should be broad enough to overlap each other three or lour inches. STAGE DIRECTIONS. R. means Riget of Stage, facing the Audience; L. Left; C. Centre; R. C. Right of Centre; L. C. Left of Centre. -D.-^Fi^Door in the Flat, or Scene run- ning across the back of the Stage ; C. D. F.'Oentre Door in the Flat; R. D. F. Right Door in the Flat; L. C. F. Left Door in the Flat: R. D. Right Door: L. D. Left Door; 1 E. First Entrance; 2 E. Second Entrance: U. E. Upper Entrance; 1, 2 or .3 G. First, Second or Third Groove. R. R. C. C. L. C. L. The Pieader ii iuppoied In he on the Hl(irn\ facing the Andiencf, Exduuige Univ. of Mich. NOV 2 5 1«» -5- PYGMALION AND GALATEA. ACT 1. SCENE: PYGMALION'S STUDIO. [Several classical statices are placed about the roomer at the bach a temple or cabinet containing a statue of Galatea, before lohich curtains are draion concealiny the statue from the audience. The curtains must be so contrived that they ivill open readily and display the stutue completely^ without much effort on the part of the actor who opens them. They must also be fitted loith mecJianical appliances to close apparently of their own ciccord at the latter part of Act III.; doors., e. and L., I. E. L. Zrd e., and opening u. e. r.] [Mijios, a slave., is discovered at vnorfi., l. c, on a half finisJied statue. To fiim enter Agesimos, • u. e. R.y he is magnificently dressed\ he comes down r. c] Ages. {Jiaughtily.) Good day. Is this Pygmalion's studio? MiM. (bounng.) It is. Ages. x\re you Pygmalion ? MiM. Oh, no; I am his slave. Ages. And has Pygmalion slaves? A sculptor with a slave to wait on him; A slave to fetch and carry — come and go — And p'raps a whip to thrash him if he don't! What's the world coming to? (sits e. c.) MiM. What is your will? Ages. This: Chrysos will receive Pygmalion At half -past three to-day; so bid him come. MiM. And are you Chrysos, sir? 4 PYGMALION AXD GALATEA. Ages. Well, ho I'm not. That is, not altogether, I'm in fact, His slave. Mm. [relieved.) His slave! ha, ha! Ag:es. (re /'(/ proudly— rises) — My name's Agesimos! MiM. And has Agesimos a master then. To bid him fetch and carry — come and go — And wield a whip to thrash him if he don't? What's the world coming to? {Resumes icork.) Ages. Poor purblind fool! I'd sooner tie the sandals of my lord, Than own five hundred thousand such as you. Whiyj! why Agesimos would rather far Be whipped by Chrysos seven times a day. Than whip you hence to the Acropolis; What say you now? MiM. ^^^l^y? that upon one point Agesimos and I are quite agreed. And who is Chrysos? Ages. Hear the slave, ye gods. He knows not Chrysos. MiM. Verily, not I. Ages. He is the chief est man in Athens, sir; The father of the arts — a nobleman Of princely liberality and taste, On whom five hundred starved Pygmalions May batten if they will. Enter Pvgmaliox, u. e. f.., down c. Pyg. Who is this man? [Agesimos. Ages. {Irandyly) I'm Chrysos' slave — (proudly) my name's Chrysos has heard of you; he understands That you have talent, and he condescends To bid you call on him. But take good care How you oifend him; he can make or mar! Pyg. Your master's slave reflects his insolence! Tell him from me that, though I'm poor enough, I am an artist and a gentleman. He should not reckon Art among his slaves; She rules the world — so let him wait on her. Ages. This is a sculptor! PYGMALION AND GALATEA. O Pyg. (furiously) — And an angry one! Begone, and take my message to your lord. [^Exit Agesimos, e. u. e. Insolent hound! Enter Cynisca, e. i. e. Cyn. Pygmalion, what's amiss? Pyg. Chrysos has sent his slave to render me The customary tribute paid by wealth ' To mere intelligence. Cyn. Pygmalion! Brooding upon the chartered insolence Of a mere slave! Dismiss the thought at once. Come, take thy chisel, thou hast work to do Ere thy wife-model takes her leave to-day; In half-an-hour I must be on the road To i\.thens. Half-an-hour remains to thee — Come — make the most of it — I'll pose myself; Say — will that do? {Poses herselj against base e.) Pyg. I cannot work to-day. My hand's uncertain — I must rest awhile. Cyn. Then rest and gaze upon thy masterpiece, 'Twill reconcile thee to thyself — Behold ! (Draics curtain and discovers statue of Galatea. ■^^'■ Py'G. Yes — for in gazing on my handiwork, I gaze on heaven's handiwork— thyself- — • Cyn. And yet, although it be thy masterpiece. It has the fault thy patrons find with all Thy many statues. Pyg. What then do they say? Cyn. They say Pygmalion's statues have one head — That head, Cynisca's. Pyg. So, then, it's a fault (rises) To reproduce an hundred thousand fold, For the advantage of mankind at large, \Jiand.) The happiness the gods have given me! (Takes her Well, when I find a fairer head than thine I'll give my patrons some variety. * Note. — These curtains must be pushed aside by hand — not drawn apart by arrangement of cord and pulleys. b PYGMALION AXD GALATEA. Cyn. {Jiastily.) I would not have thee find another head That seemed as fair to thee for all the world! We'll have no stranger models if you please, I'll be your model, sir, as heretofore, So reproduce me at your will; and yet It were sheer vanity in me to think That this fair stone recalls Cynisca's face. Pyg. Cynisca's face in every line! Cyn. No, no! \iip l.) Those outlines softened, angles smoothed away The eyebrows arched, the head more truly poised. The forehead ten years smoother than mine own. Tell rather of Cynisca as she was When, in the silent groves of Artemis, Pygmalion told his love ten years ago; And then the placid brow, the sweet, sad lips. The gentle head down-bent resignedly. Proclaim that this is not Pygmalion's wife, [tween! Who laughs and frowns, but knows no meed be- I am no longer as that statue is (doum l.) (Closes [curtains.) Pyg. Why here's ingratitude, to slander Time, Who in his hurried course has passed thee by ! Or is it that Cynisca won't allow That Time could pass her by, and never pause To print a kiss upon so fair a face ? Enter Myrine, e. u. e., running. Myk. (doion E. c.) Pygmalion I have news. Pyg. (c.) — My sister, speak. Myk. {bashfully.) Send Mimos hence. [quite alone. Pyg. (signs to Mimos, toho exits l. cmd d.) Now we are Myr. Leucippe — Cyn. (l. c.) Well! Myr. (to Pyg.) — He was thy schoolfellow, And thou and he are brothers save in blood; He loves my brother as a brother. Pyg. Yes, I'm sure of that; but is that all thy news? There's more to come! Myr. (bashfully.) He loves thy sister too. PYGMALIOX AXD GALATEA. 7 Pyg. Why this is news, Mjrine — kiss me girl. (ITisses her a7id puts her to c.) I'm more than happy at thy happiness, There is no better fellow in the world. Cyx. But tell us all about it clear. How came The awkward, bashful, burly warrior, To nerve himself to this confession? Leucippe appears at door u. e. k. Mye. Why- He's here — (goes to him and brings him dovm) — and he shall tell thee how it was. Leuc. {ciu'l'wardly .) In truth I hardly know, I'm new at it; I'm but a soldier. Could I fight my way Into a maiden's heart, why well and good; I'd get there somehow. But to talk and sigh, And whisper pretty things, I can't do that; I tried it, but I stammered, blushed and failed. Myrine laughed at me — but bless her heart, She knew my meaning and she pulled me through! Mye. I don't know how, Pygmalion, but I did. He stammered, as he tells you, and I laughed; iVnd then I felt so sorry, when I saw The great, big, brave Leucippe look so like A beaten schoolboy — that I think I cried. [Pause.) And then — I quite forgot what happened next. Till, by some means, we, who had always been So cold and formal, distant and polite, Found ourselves Leuc. Each upon the other's neck! You are not angry? {offering his hand.) Pyg. {tciJcing it.) Angry? overjoyed! I wish I had been there, unseen, to see; No sight could give me greater happiness! Leuc. What! say you so? Why then, Myrine, girl, We'll reproduce it for his benefit. \They emhrace.) See here, Pygmalion, here's a group for thee! Come, fetch thy clay, and set to work on it, I'll promise thee thy models will not tire. Cyn. How now, Leucippe, where's the schoolboy blush. That used to coat thy face at sight of her?" 8 TYGMALIOM AND GALATEA. Leuc. The coating- was but thin, we've rubbed it off! (Kisses Myrine and takes her to seat l.) Pyg. Take care of him, Myrine; thou hast not The safeguard that protects her. (Indicating Cynisca, loho crosses r. c.) Myr. (sits L.) — What is that? Cy^n. (seated r.) It's a strange story. Many years ago 1 was a holy nymph of Artemis, Pledged to eternal maidenhood. Leuc. Indeed! Myr. How terrible! Ci"X. It seems not so to me; For weeks and weeks I pondered stedfastly Upon the nature of that serious step Before I took it — lay awake at night, Looking upon it from this point and that. And I at length determined that the vow, Which to Myrine seems so terrible. Was one that I, at all events could keep. (Leucippe 'whisjjers Myrixe.) Myr. How old was thou, Cynisca? Ctist. I was ten. Well — in due course, I reached eleven, still I saw no reason to regret the step; [changed; Twelve — thirteen — fourteen saw me still un- At fifteen, it occurred to me one day That marriage was a necessary ill. Inflicted by the gods to punish us, And to evade it were impiety; At sixteen the idea became more fixed; At seventeen I was convinced of it. Pyg. In the meantime she'd seen Pygmalion. (Pyg. is ivp l. loorJdng on unfinished statue.) My^r. And you confided all you doubts to him? Cy^x. I did, and he endorsed them — so we laid The case before my mistress Artemis; No need to tell the arguments we used, Suffice it that they brought about our end. And Artemis, her icy steadfastness Thawed by the ardor of Cynisca's prayers, Replied, " Go girl, and wed Pygmalion; PYGMALION AND GALATEA. 9 *'But mark mj words — (mes and crosses c.) — whichever one of you, " Or he or she, shall falsify the vow " Of perfect conjugal fidelity — "The wronged one, he or she, shall have the power " To call down blindness on the backslider, " And sightless shall the truant mate remain " Until expressly pardoned by the other." Leuc. It's fortunate such powers as your's are not In universal use; for if they were. One half the husbands and one half the wives Would be as blind as night; the other half, Having their eyes, would use them — on each other! MiMOS enters^ u. e. l., and gives Pygmalion a scroll^ lohich he reads at hack. Exit Mimos u. e. l. Mye. But then, the power of calling down this doom Remains with thee. Thou wouldst not burden him With such a curse as utter sightlessness. However grieviously he might offend. Cyn. {earnestly). I love Pygmalion for his faithfulness ; The act that robs him of that quality Will rob him of the love that springs from it. Mye. But sightlessness — it is so terrible! Cyn. And faithfulness — it is so terrible! I take my temper from Pygmalion; While he is god-like — he's a god to me. And should he turn to devil, I'll turn with him, I know no half moods, I am love or hate! Mye. {to Leuc.) — What do you say to that? Leuc. Why, on the whole I'm glad yoiCre not a nymph of Artemis! [^Exeunt^ Myeine aiid Leucippe, i. e. l. Pyg. I've brought him to his senses. Presently My patron Chrysos will be here to earn Some thousand drachmas. {Doion e.) Cyn. (l. c.) How, my love, to earn? He is a man of unexampled wealth. And follows no profession. Pyg. Yes, he does; 10 PYGMALIOX AXD GALATEA. He is a patron of the Arts, and makes A handsome income by his patronage. Cyn. How so? Pyg. He is an ignorant buffoon! But purses hold a higher rank than brains, And he is rich; wherever Chrysos buys. The world of smaller fools comes following, And men are glad to sell their work to him At half its proper price, that they my say, " Chrysos has purchased handiwork of ours." He is a fashion, and he knows it well ^ In buying sculpture ^ he appraises it , As he'd appraise a master-mason's work, '- So much for marble, and so much for time. So much for working tools — but still he buys, And so he is a patron of the Arts! Cyn. To think that heaven-born Art should be the slave Of such as he. Pyg. Well, wealth is heaven-born too, I work for wealth. Cyn. Thou workest, love, for fame. Pyg. And fame brings wealth. The thought's con- temptible, [her. But I can do more than work for wealth. [Tirrns/rom Cyn. Such words from one whose noble work it is To call the senseless marble into life! Pyg. Life! Dost thou call that life? Cyn. It all but breathes! (.SV^.vl.) Pyg. (up E., bitterly.) It all but breathes — therefore it talk-s aloud! It all but moves — therefore it walks and runs! It all but lives, and therefore it is life! No, no, my love, the thing is cold, dull stone, Shaped to a certain form, but still dull stone, ( Up R. c, looldng at Statue.) The lifeless, senseless mockery of life. The gods make life, I can make only death! Why, my Cynisca, though I stand so well. The merest cut- throat, when he plies his trade, Makes better death than I with all my skill! Cyn. Hush, my Pygmalion! the gods are good. PYGMALIOX AXD GALATEA. 11 And tliey liave made tliee nearer unto them Than other men; this is ingratitude! Ptg. {haughtily.) Not so; has not a monarch's second son More cause for anger that he lacks a throne Than he whose lot is cast in slavery? [excuse. Cyn. (rises.) Not much more cause, perhaps, but more Now I must go. Pyg. So soon, and for so long. Cyn". One day, 'twill quickly pass away! [doubt, Pyg. With those who measure time by almanacks, no But not with him who knows no days save those Born of the sunlight of Cynisca's eyes; It will be nior-ht with me till she returns. Cyn. Then sleep it through, Pygmalion! But stay. Thou shalt not pass the weary hours alone; Now mark thou this — ^while Pm away from thee. There stands my only representative, (rncUcating Galatea, and withdrauring curtains^ She is my proxy, and I charge you, sir. Be faithful unto her as unto me! Into her quietly attentive ear Pour all thy treasures of hyperbole, And give thy nimble tongue full license, lest Disuse should rust its glib machinery; Uidvancing If thoughts of love should haply crowd on thee, There stands my other self, tell them to her. She'll listen well; {Jie maJces a inorement of i??i- Nay, that's ungenerous, [j)atit)ice.) For she is I, yet lovelier than I, And hath no temper, sir, and hath no tongue; Thou hast thy license — make good use of it. (Crosses e.) Already I'm half jealous — there! (draws curtain together concecding statue.) It's gone. The thing is but a statue after all. And I am safe in leaving thee with her; Farwell, Pygmalion, till I return. (Kisses him., and exit u. e. e.) Pyg. {Utterly.) " The thing is but a statue after all! *' Cynisca little thought that in those words 12 PYGMALION AND GALATEA. She touched the key-note of my discontent — True, I have powers denied other men; Give me a block of senseless marble — Well, I'm a magician, and it rests with me To say what kernal lies within its shell; It shall contain a man, a woman, a child, A dozen men and women if I will. So far the gods and I run neck and neck, Nay, so far I can beat them at their trade; / am no bungler — all the men / make Are straight limbed fellows, each magnificent I In the perfection of his manly grace; I make no crook-ljacks — all my men are gods. My women, goddesses, in outward form. But there's my tether — I can go so far, And go no farther — at that point I stop. To curse the bonds that hold me sternly back. To curse the arrogance of those proud gods, Who say, " Thou shalt be greatest among men, " And yet infinitesimally small !" G A1.ATE A (from behuid a frtam c.) Pygmalion! Pyg. {ftfUr a pause .) Who called? Gal. Pygmalion ! [Pyg. tears aicciy curtain and d fscove?'s Galatba alive. Py'G. Ye gods! It lives! Gal. Pygmalion! Pyg. It speaks! I have my prayer! my Galatea breathes! Gal. Where am I? Let me speak, Pygmalion; [warm! Give me thy hand — both hands — how soft and Whence came I? {^Descends.) Pyg. Why, from yonder pedestal. Gal. That pedestal! Ah, yes, I recollect. There was a time when it was part of me. Pyg. That time has passed forever, thou art now A living, breathing v/oman, excellent In every attribute of womankind. Gal. Where am I, then? Pyg. Why born into the world By miracle. PYGMALION AND GALATEA. 13 Gal. Is this the world? ' Pyg. It is. Gal. This room? ' Pyg. This room is portion of a house; | The house stands in a grove, the grove itself I Is one of many, manjjbhousand groves In Athens. Gal. And is Athens then the world? Pyg. To an Athenian — Yes — ■ Gal. And I am one? Pyg. By birth and parentage, not by descent. Gal. But how came I to be? Pyg. Well — let me see. Oh — you were quarried in Pentelicus; I modelled you in clay — my artisans Then roughed you out in maj;;ble — I, in turn, Brought my artistic skill to bear on you. And made you what you are — in all but life — The gods completed what I had begun, And gave the only gift I could not give. Gal. Then is this life ? Pyg. It is. Gal. And not long since I was a cold, dull stone. I recollect That by some means I knew that I was stone, That was the first dull gleam of conscience; I became conscious of a chilly self, A cold immoveable identity, I knew that I was stone, and knew no more; Then, by an imperceptible advance, Came the dim evidence of outer things, Seen — darkly and imperfectly — yet seen — The walls surrounded me, and I, alone. That pedestal — that curtain — then a voice That called on Galatea! At that word, Which seemed to shake my marble to the core, That which was dim before, came evident. Sounds, that had hummed around me, indistinct, Vague, meaningless — seemed to resolve themselves Into a language I could understand; I felt my frame pervaded with a glow 14 PYGMALIOX AND GALATEA. That seemed to thaw my marble into flesh; Its cold hard substance throbbed with active life, My limbs grew supple, and I moved — I livedj Lived in the ecstacy of new born life; Lived in the love of him that fashioned me; Lived in a thousand tangled thoughts of hope, Love, gratitude, thoughts that resolved themselves Into one word, that word, Pygmalion ! (iLueels to Pyg. I have no wQrds to tell thee of my joy, [/nm.) O woman — perfect in thy loveliness. Gal. What is that word? Am I a woman? Pyg. Yes. Gal. Art thou a woman? Pyg. No, I am a man. Gal. What is a man? PvG. A being strongly framed, To wait on woman, and protect her from All ills that strength and courage can avert; To work and toil for her, that she may rest; To weep and mourn for her, that she may laugh; To fight and die for her, that she might live! Gal. (after a pause.) I'm glad I am a woman. (Takes his hand — he leads her doion l.) Pyg. So am I. (They sit.) Gal. That I escape the pains thou hast to bear? Pyg. That I may undergo those pains for thee. Gal. With whom then would'st thou fight? Pyg. With any man Whose word or deed gave Galatea pain. Gal. Then there are other men in this strange world? Pyg. There are indeed. Gal. And other women? Pyg. {tahen ahacJc.) Yes; Though for the moment I'd forgotten it; Yes, other women. Gal. And for all of these Men work, and toil, and mourn, and weep and fight? Pyg. It is man's duty, if he's called upon, To fight for all — he works for those he loves. Gal. Then by thy works I know thou lovest me. Pyg. Indeed, I love thee! (Embraces her,) PYGMALION AND GALATEA. 15 Gal. With what kind of love? Pyg. I love thee [vecoUectiny himself and releasmg her) as a sculptor does his work! (aside) There is a diplomacy in that reply. Gal. My love is different in kind to thine; I am no sculptor, and I've done no work, Yet I do love thee; say- — v/hat love is mine? Pyg. Tell me its symptoms — then I'll answer thee. Gal. Its symptoms? Let me call them as they come. A sense that I am made bi/ thee for thee, That I have no will that is not wholly thine, That I've no thought, no hope, no enterprise, That does not own thee as its sovereign ; That I have life, that I may live for thee. That I am thine — that thou and I are one! What kind of love is that? Pyg. a kind of love That I shall run some risk in dealing with. Gal. And why, Pygmalion? Pyg. Such love as thine A man may not receive, except indeed From one who is, or is to be, his wife. Gal. Then T will be thy wife. Pyg. That may not be; I have a wife — the gods allov,^ but one. Gal. Why did the gods then send me here to thee? Pyg. I cannot say— unless to punish me (rises) • For unreflecting and presumptuous prayer! I prayed that thou should'st live. I have my prayer, And now I see the fearful consequence That must attend it! GxVL. Yet thou lovest me? (Illses.) Pyg. Who could look on that face and stifle love? Gal. Then I am beautiful? Pyg. Indeed thou art. Gal. I wish that I could look upon myself, But that's impossible. Pyg. Not so indeed, (crosses e.) This mirror will reflect thy face. Behold! (Hands her a ynirror from table n. c.) 16 PYGMALIOX AND GALATEA. Gal. How beautiful! I am very glad to know That both our tastes agree so perfectly; Why, my Pygmalion, I did not think That aught could be more beautiful than thou. Till I behold myself (« pause.) Believe me, love, I could look in this mirror all day long. So I'm a woman. Pva. There's no doubt of that! Gal. Oh happy maid to be so passing fair! And happier still Pygmalion, who can gaze. At will, upon so beautiful a face. [fro7n Jter) Pyg. Hush! Galatea — in thine innocence {taking glass Thou sayest things that others would reprove. Gal. Indeed, Pygmalion; then it is wrong To think that one is exquisitely fair'? Pyg. Well, Galatea, it's a sentiment That every woman shares with thee; They think tt — but they keep it to themselves. Gal. And is thy wife as beautiful as I? Pyg. No, Galatea, for in forming thee I took her features — lovely in themselves — And in the marble made them lovelier still. Gal. {Disappointed^ Oh! then I'm not original? Pyg. Well— no— That is — thou hast indeed a prototype. But though in stone thou did'st resemble her, In life, the difference is manifest. Gal. I'm very glad that I am lovelier than she. * And am I better? {^its l.) Pyg. That I do not know. Gal. Then she has faults. Pyg. Very few indeed; Mere trivial blemishes, that serve to show That she and I are of one common kin. I love her all the better for such faults, [them now. Gal. {after a pause.) Tell me some faults and I'll commit Pyg. There is no hurry ; they will come in time ; {sits beside Though for that matter, it's agrevioussin [AerL.) To sit as lovingly as we sit now. Gal. Is sin so pleasant? If to sit and talk As we are sitting, be indeed a sin, PYGMALIOX AXD GALATEA. 17 AThy I could sin all dav. But tell me, lov^, Is this great fault that I'm committino- now The kind of fault that only serves to show That thou and I are of one common kin? Pyg. Indeed, I'm very much afraid it is. Gal. And dost thou love me better for such fault? Pyg. Where is the mortal that could answer "no?" Gal. AVhy then I'm satisfied, Pygmalion; Thy wife and I can start on equal terms. She loves thee? Pyg. A'erv mucli. Gal. ' I'm glad nf that. I like thy wife. ' Pyg. ^ And why? Gal. (surprlstd at tJiC question.) Our tastes agree. i We love Pjgmalion well, and what is more, | Pygmalion loves us both. I like thy wife; j I'm sure we shall agree. Pyg. (aside.) I doubt it much. | Gal. Is she within? Pyg. No, she is not within. Gal. But she'll come back? Pyg. Oh, yes, she will come back. Gal. How pleased she'll be to know when she returns, That there was some one here to fill her place. [(7Hses) Pyg. (drill/.) Yes, I should say she'd be extremely pleased. Gal. Why, there is something in thy voice which says That thou art jesting. Is it possible To say one thing and mean another? Pyg. Yes, It's sometimes don^. Gal. How very wonderful; So clever! Pyg. iVnd so very useful. Gal. Yes. Teach me the art. Py'g. The art will come in time. My wife will not be pleased ; there — that's the truth. Gal. I do not think that I s/iaU like thy wife. Tell me more of her. Pyg. Well— 18 PYGMALION AND GALATEA. Gal. What did she say When last she left thee? Pyg. Humph! Well, let me see; Oh! true, she gave thee to me as my wife, — Her solitary representative; {tenderly) She feared I should be lonely till she came. And counselled me, if thoughts of love should come, To speak those thoughts to thee, as I am wont To speak to her. Gal. That's right. Pyg. {releasing her.) But when she spoke Thou wast a stone, now thou art flesh and blood, Which makes a diflPerence. Gal. It's a strange world; A woman loves her husband very much. And cannot brook that I should love him too; She fears he will be lonely till she comes. And will not let me cheer his loneliness; She bids him breathe his love to senseless stone, And when that stone is brought to life- — be dumb! It's a strange world, I cannot fathom it. {Crosses ii.) Pyg. {aside.) Let me be brave and put an end to this. {aloud.) Come Galatea—till my wife returns, My sister shall provide thee with a home; Her house is close at hand. Gal. {astonished and alarmed.) Send me not hence, Pygmalion — let me stay. Pyg. It may not be. Come, Galatea, #e shall meet again. Gal. {Resignedly) Do with me as thou wilt, Pygmalion ! But we shall meet again ? — and very soon ? Pyg. Yes, very soon. Gal. And when thy wife returns. She'll let me stay with thee? Pyg. I do not know, [alas! {aside) Why should I hide the truth from her {aloud) I may not see thee tlien. Gal. Pygmalion ! What fearful words are these? Pyg. The bitter truth. ^ I may not love thee — I must send thee hence. PYGMALIOX AND GALATEA. 19 Gal. Recall those words, Pygmalion, my love! Was it for this that heaven gave me life? Pygmalion, have mercy on me; see I am thy work, thou hast created me; The gods have sent me to thee. I am thine, Thine! only, and unalterably thine! (irncsk') This is the thought with which my soul is charged. Thou tellest me of one who claims thy love, That thou hast love for her alone. Alas! I do not know these things — ^I only know That heaven has sent me here to be with thee, Thou tellest me of duty to thy wife. Of vows that thou will love but her; Alas! I do not know these things — I only know That heaven, who sent me here, has given me One all absorbing duty to discharge — To love thee, and to make thee love again. [Dicrmg this speerli Pygmalion has shown symptoms of irresolution; at its conclusio)i he takes Iter in his arm,s^ and embraces Jier passionately?)^ ACT DROP. \_Iling v'Jien Pygmalion hisses Galatea.] ACT II. SCENE: Same as Act I. YSee that curtains that concealed the statue are closed.'] [Pygmalion discovered at icorJc on an unfinislied statue l.] Pyg. To-morrow my Cynisca comes to me; Would that she had never departed hence! It took a miracle to make me false, And even then I was but false in thought; A less exacting wife might be appeased By that reflection. But Pygmalion 20 PYGMALION AND GALATEA. Must be immaculate in every thought, Even though Heaven's armaments be ranged Against the fortress of his constancy. Enter Myeine, l". e. e., in great excitement. Myr. Pygmalion! Pyg. Myrinel Myr. {shrinking fro7n J dm.) Touch me not, Thou hast deceived me, and deceived thy wife! Who is the woman thou didst send to me To share my roof last night? Py^g. Be pacified; Judge neither of us hastily, in truth She is as pure, as innocent as thou. Myr. Oh, miserable man — confess the truth. Disguise not that of which she boasts aloud. Py^g. Of what then does she boast? Myr. To all I say She answers with one parrot-like reply, " I love Pygmalion " — and when incensed ' I I tell her that thou hast a cheated wife, She only says "I love Pygmalion, "I and my life are, his, and his alone! " Who is this shameless woman, sir? Confess! Pyg. Myrine, I will tell thee all. The gods To punish my expressed impiety, Have worked a miracle, and brought to life My statue Galatea. Myr. {incrediioiisly) Marvellous, If it be true! Pyg. It's absolutely true. (Myrine ojyens the curtains and sees the 2^edestal empty ^ Myr. The statue's gone ! (Galatea appears at door k. u. e.] Pyg. The statue's at the door! Gal. {coming down and embracing hi7ii) — At last we meet! Oh! my Pygmalion! • What strange, strange things have happened since we met. Pyg. Why, what has happened to thee? Gal. Fearful things! (to My'r.) I went with thee into thine house— PYGMALIOX AXD (iALATEA. 21 Mye. Well, well. Gal. And then I sat alone and wept — and wept A long-, long" time for my Pygmalion. Then by degrees — by tedious degrees, The light — the glorious light I — the godsent light! I saw it sink — sink — sink — behind the worhl; Then I grew cold — cold — as I used to be, Before my loved Pygmalion gave me life. • Then came the fearful thouglit that, by degrees, I was returning into stone au-aiii! How bitterly 1 wept and prayed aloud That it might not be so! " Spare me, ye gods! " Spare me, " I cried, " for my Pygmalion, "A little longer for Pygmalion! "Oh, take me not so early from my love; '• Oh, let me see him once— but once again!" . But no— they heard me not, for they are good, And had they heard, must needs have pitied me; They had not seen t/)ee and they did not know The happiness that I must leave behind. I fell upon thy couch (to Myrixe), my eyelids closed, My senses faded from me one by one; I knew no more until I found myself. After a strange dark interval of time. Once more upon my hated pedestal, A statue — -motionless — insensible ; And then I saw the glorious gods come down! Down to this room! the air was filled with them! They came and looked upon Pygmalion, And looking on him, kissed him one by one. And said, in tones that spoke to me of life, " ^Ye cannot take her from such happiness! " Live Galatea for his love! " And then The glorious light that I had lost came back — There was Myrine's room, there was her couch, /■ There was the sun in lieaven; and the birds Sang once more in the great green waving trees. As I had lieard them sing — I lived once more To look on him 1 love! Myr. ^ 'Twas but a dream! {coming down Pw.) Once every day this death occurs to us, 22 PYGMALION AND GALATEA. Till thou and I and all who dwell on earth, Shall sleep to wake no more ! Gal. (Jtorrified^ takes Myrine's hand.) To wake no more! Pyg. That time must come, may be not yet awhile, Still it must come, and we shall all return To the cold earth from which we quarried thee, Gal. See how tho promises of new-born life • Fade from the bright hope-picture, one by one! Love for Pygmalion^ — a blighting sin, * His love a shame that he must hide away. Sleep, stone-liko senseless sleep, our natural state. And life a passing vision born thereof. From which we wake to native senselessness! How the bright promises fade one by one! Myr. Why there are many men who thou mayest love; But not Pygmalion — he has a wife. Gal. Does no one love him? MyPw. Certainly — Zdo. He is my brother. Gal. Did he give thee life? Myr. Why, no, but then — Gal. He did not give thee life, -And yet thou lovest him! And why not I ? Who owe my very being to his love. Pyg. Well, thou mayest love me — as a father. Myr. Yes; He is thy father, for he gave thee life. Gal. Well, as thou wilt, it is enough to know That I may love thee. Wilt thou love me too? Pyg. Yes, as a daughter; there, that's understood. Gal. Then I am satisfied [kissing his hand.) Myr. (aside.) Indeed I hope Cynisca also will be satisfied! £JxU R. I. E. Pyg. crosses r. Gal. [To P vg., toho crosses r.) Thou art not going from me? Pyg. For awhile. Gal. Oh, take me with thee; leave me not alone With these cold emblems of my former self. [al hiding to statues.) I dare not look on them! Pyg. . Leucippe conies, PYGMALION AND GALATEA. 23 And he shall comfort thee till I return; . I'll not be long! Gal. Leiicippel Who is he? PvG. A valiant soldier. Gal. What is that? Pyg, a man, Who's hired to kill his country's enemies. Gal. {Jwrrified) A paid assassin! Pyg. (amazed.) Well, that's rather strong. There spoke the thoroughly untutored mind; So coarse a sentiment might fairly pass With mere Arcadians — a cultured state Holds soldiers at a higher estimate. In Athens — which is highly civilized — The soldier's social rank is in itself Almost a patent of nobility. Gal. He kills! And he is paid to kill! Pyg, No doubt. But then he kills to save his countrymen. Gal. Whether his countrymen be right or wrong? Pyg. He don't go into that — it's quite enough That there are enemies for him to kill; He goes and kills them when his orders come. Gal. How terrible! Why, my Pygmalion, How many dreadful things thou teachest me; Thou tellest me of death — that hideous doom That all must fill; and having told me this — Here is a man, whose business is to kill; To filch from other men the priceless boon That thou hast given me — the boon of life. And thou defendest him. Py^g. I have no time To make these matters clear — but here he comes, Talk to him — thou wilt find him kind and good, Despite his terrible profession. Gal. {in great terror) No! I'll not be left with him, Pygmalion. Stay! He is a murderer! Pyg. Ridiculous I Why, Galatea, he will harm thee not, 24: rYCniALIOX AND GALATEA. He is as good as brave. I'll not be long, I'll soon return. Farewell! [^Exit u. e. k. Gal. I will obey Since thou desirest it; but to be left Alone with one whose mission is to kill! Oh, it is terrible! Enter Leucippe r. u. e., irifh a Fauni'^ that he ha^ .^Jiot. Leuc. a splendid siiot. And one that I shall never make again! [''*^^'' Gal. Monster! Approach me not! {^Shririk'tiuj irtfo\..cor- Leuc. Why, who is this? Nay, I'll not hurt thee, maiden! Gal. Spare me, sir! I have not done thy country any wrong, I am no enemy! Leuc. I'll swear to that! Were Athens' enemies as fair as thou. She'd never be at loss for warriors. Gal. Oh miserable man, repent! repent! Ere the stern niarble claim you once again. Leuc. I don't quite understand — Gal. Remember, sir, The sculptor who designed you, little thought That when he prayed the gods to give you life, He turned a monster loose upon the world. See, there is blood upon those cruel hands'- Oh touch me not. Leuc. [aside.) Poor crazy little girl! [not — Why — there's no cause for fear — I'll harm thee As for the blood, this will account for it {s/iovma/ Gal. What's that? [Fawn) Leuc. A little Fawn. Gal. It does not move! Leuc. No, for i wounded her. Gal. Oh, horrible! * Note. — This Fawn must be perfectly limp and death-like, and at the same time a ]n"etty and interesting object, or tlie scene which follows ^Yill excite ridicule. The Fawn used at the Hay- market Theatre was supplied by Mr. H. Ward, Naturalist, 3, Vere Street, Oxford Street, PYGMALION AND GALATEA. 25 Leuc. Poor little thing! 'Twas almost accident; I lay upon my back beneath a tree, Whistling the lazy hours away — when lo! I saw her bounding through a distant glade; My bow was handy; in sheer wantonness I aimed an arrow at her, and let fly. Believing that at near a hundred yards So small a being w^ould be safe enough, But, strange to tell, I hit her. Here she is; She moves — poor little lady! Ah, she's dead! Gal. Oh, horrible! oh, miserable man! [arms) — What have you done — (Takes Favm into her Why you have murdered her! Poor little thing! I know not what thou art; Thy form is strange to me; but thou hadst life And he has robbed thee of it! (Strokes Favm u'ith her handhercliief and gives it \hack to Leuc.) (Sxddenh/.) Get you hence! Ere vengeance overtake you! Leuc. Well, in truth, I have some apprehension on that score. It was Myrine's — though I knew it not. 'Twould pain her much to know that it is dead; So keep the matter carefully from her [Jiind.^^ Until I can replace it. \_ExU Leucippe, e. u. e., loith Gal. Get you hence; I have no compact with a murderer! Enter Myeine, e. i. e. Mye. Why, Galatea, what has frightened thee? Gal. Myrine, I have that to say to thee That thou must nerve thyself to hear. That man — That man thou lovest — is a murderer! Mye. Poor little maid! Pygmalion, ere he left, Told me that by that name thou didst describe The bravest soldier that our country owns! He's no assassin, he's a warrior. Gal. Then what is an assassin? Mye. One who wars Only with weak, defenceless creatures. One 26 PYGMALION AND GALATEA. Whose calling' is to murder unawares. My brave Leucippe is no murderer. Gal. Thy brave Leucippe is no longer brave, He is a mere assassin by thy showing. I saw him with his victim in his arms, His wicked hands dyed crimson with her blood; There she lay, cold and stark, her gentle eyes Glazed with the film of death. She moved but once, She turned her head to him and tried to speak, But ere she could articulate a word. Her head fell helplessly, and she was dead! Myr. Why, you are raving, girl. Who told you this? Gal. He owned it; and he gloried in the deed. He told me how, in arrant wantonness. He drew his bow, and smote her to the heart. Myr. Leucippe did all this! Impossible! You must be dreaming! Gal. On my life it's true. See here's a handkerchief which still stained With her blood— I staunched it with my hand. Myr. Who was his victim? Gal. N^y — I cannot tell. Her form was strange to me — but here he comes; Oh! hide me from that wicked murderer! (Crosses l.) EnteT Leucippe, u. e. k. Myr. Leucippe can this dreadful tale be true? Leuc. {to Gal. aside.) Thou should have kept my secret. See, poor girl. How it distresses her. [To Myr.) It's true enough. But Galatea should have kept it close, I knew that it would pain thee greviously; Myr. Some devil must have turned Leucippe's brain; You did all this? Lexjo. Undoubtedly I did. I saw my victim dancing happily Across my field of view — I took my bow, And, at the distance of a hundred yards, I sent an arrow right into her heart. There are few soldiers who could do as much. PYG^rALTOX AXD GALATEA. 27 Myk. Indeed I hope that there are very few. Oh, miserable man! Leuc. That's rather hard. Congratulate me rather on my aim, Oi" which I have some reason now to boast; As for m.y victim — why, one more or less, What does it matter? There are plenty left! And then reflect. Indeed, I never thought That I should hit her at so long a range; My aim was truer than I thought it was. And the poor little lady's dead! Mye. Alas! This is the calmness of insanity. What shall we do? Go, hide yourself away. Leuc. But MyPv. Not a word, I will not hear thy voice, I will not look upon thy face again; Begone! (sits at table ^ p., and sobs.) Gal. Go, sir, or I'll alarm the house! Leuc. Well, this is sensibility, indeed! AVell, they are women — women judge these things By some disjointed logic of their own. I'm off to x\.thens — when your reason comes Send for me, if you will. Till then, farewell. [^xit u. E. K., angrily, Myr. Oh, this must be a dream, and I shall wake To happiness once more! Gal. (jumping at the idea) A dream! no doubt! We both are dreaming, and we dream the same, But by what sign, Myrine, can we tell Whether we dream or wake? Mye. There are some things Too terrible for truth, and this is one. Enter Vyq^imaoih., e. e. u., vnth the hind. Pv(4. [dov-n c.) — Why, what's the matter with Leucippe, girl? I saw him leave the house, and mount his horse With every show of anger. Myr. a fearful thing has happened. He is vah 28 PYGMALION AND GALATEA. And hath done a deed I dare not name. Did he say ought to thee before he left? Pyg. Yes; when I asked him what had angered him, He threw me this {showing hind.) Gal. {in extreme horror)—H\?> victim — take it hence. I cannot look at it. Myr. Why what is this? Gal. The being he destroyed in very wantonness; He robbed it of the life the gods had given. Oh! take it hence, I dare not look on death! (Pygivi ALIGN throios him on chair if.) Myr. Why was this all he killed? Gal. {astonished.) All!!! And enough! Mry. Why, girl — thou must be mad! Pygmalion — She told me he had murdered somebody, But knew not whom! Pyg. {in great agitation.) The girl will drive us mad! Bid them prepare my horse — I'll bring him back. [Exit Myrine, l. e. r., Tunmng. Gal. Plave I done wrong? Indeed I did not know; Thou art not angry with me? Pyg. Yes, I am; I'm more than angry with thee — not content With publishing thine unmasked love for me, Thou hast estranged Leucippe from his love Through thine unwarrantable foolishness. Enter Mimos, u. e. r. MiM. Sir, Chrysos and his lady are without. Pyg. I cannot see them now. Stay — show them in. {Exit MiMOS. {To Gal.) Go wait in there. I'll join thee very soon. \Exit Galatea, l. e. r. Enter Daphne u. e. r. (Pygmalion goes to statue^ l, andhegins to work on it.) Dapii. Where is Pygmalion? Pyg. Pygmalion's here. Daph. We called upon you many months ago, PYGMALIOX AND GALATEA. 29 But you were not at home — so being here, We looked around us and we saw the stone, You keep so carefully behind that veil. Pyg. That was a most outrageous liberty. Daph. Sir! do you know me? Pyg. You are Chrysos' wife. Has Chrysos come with you? Daph. He waits without. I am his herald to prepare you for The honor he confers. Be civil, sir, And he may buy that statue; if he does Your fortune's made! Pyg. {To Mimos.) You'd better send him in. [^Exit Mim., e. Enter Chry^sos, u. e. k. Chky. [Doitm E. c.) Well^ — is the young man's mind pre- pared? Daph. It is; He seems quite calm. Give money for the stone, I've heard that it is far beyond all price, But run it down, abuse it ere you buy. Chky. {to Py^g.) Where is the statue that I saw last time ? Pyg. {at a loss.) Sir, it's unfinished — its a clumsy thing. I am ashamed of it. Chey". It isn't good. There's want of tone; it's much too hard and thin; Then the half distances are very crude — Oh — very crude indeed — then it lacks air, And wind and motion, massive light and shade; It's very roughly scumbled; on my soul The scumbling's damnable! Daph. (aside to him.) Bethink yourself! That's said of painting — this is sculpture! Chey. Eh? It's the same thing, the principle's the same. Now for its price. Let's see — what will it weigh? Daph. A ton, or thereabouts. Chey. Suppose we say A thousand drachmas? Py'G. No, no, no, my lord; 30 rYG^JAJ.lOX AND GALATEA, The work is very crude and thin, and then, Remember, sir, the scumbling — Chky. Damnable I But never mind, although the thing is poor, 'Twill serve to hold a candle in my hall. Pyg. Excuse me, sir; poor though that statue be, I value it beyond all price. Chey. Pooh, pooh! I give a thousand drachmas for a stone AVhich in the rough would not fetch half that sum! Daph. Why bless my soul, young man, are you aware We gave but fifteen hundred not long since For an Apollo twice as big as that! Pyg. But pardon me, a sculptor does not test The beauty of a figure by its bulk. Chry. Ah ! then she does. Daph. Young man, you'd best take care You are oflPending Chrysos! [Exit ii. u. l, CiiRY. And his wife, [go'hig) Pyg. I cannot stay to enter into that \(loor l. Sir, once for all, the statue's not for sale. \_ExU 2 Chey. Sir, once for all, I will not be denied; Confound it — if a patron of the arts Is thus to be dictated to by art. What comes of that art patron's patronage? Oh, upstart vanity of human kind! Oh, pride of worms — oh, scholarship of fools! Oh, ponderosity of atoms! oh, Substantiality of nothingness! He must be taught a lesson — Where's the stone! (Goes to pedestal and opens curtains.) It's gone. (Ent' looking at a statue of Come along, do! [^Exeiint^ ir. e. k. Enter Myrine, i. e. i>., in great distress. Myr. Pygmalion's heard that he must lose his wife, And swears, by all the gods that reign above, He will not live if she deserts him now! What — what is to be done? Enter Galatea, t. e. r. Gal. Myrine here! Where is Pygmalion? Myr. Oh, wretched girl! Art thou not satisfied with all the ill Thy heedlessness has worked, that thou art t3ome To gaze upon thy victim's misery? Well, thou hast come in time! Gal. What dost thou mean : Myr. Why this is what I mean — he will not live Now that Cynisca has deserted him. O, girl, his blood will be upon thy head! Gal. Pygmalion will not live! Pygmalion diel And I, alas, the miserable cause. Oh, what is to be done? Myr. I do not know. And yet there is one chance, but one alone; I'll see Cynisca, and prevail on her To meet Pygmalion but once again. [not live Gal. {wildly.) But should she come too late? He may Till she returns. [to thee, Myr. {fis struck hy a, sudden tJiought.) V\\ send him now And tell him that his wife awaits him here. He'll take thee for Cynisca; when he speaks Answer thou him as if thou wast his wife. Gal. Yes, yes, 1 understand. Myr. Then I'll begone, [2 d. l. The gods assist thee in this artifice! {Exit Myrine, Gal. The gods will help me, for the gods are good, [thee, {Kneels o.) Oh, heaven, in this great grief I turn to Teach me to speak to him, as, ere I lived, I'A'GMALION AXD GALATEA. 43 Cynisca spake to him. Oh, let my voice Be to Pygmalion as Cynisca's voice, And he will live — for her and not for me — Yet he v/ill live. I am the fountain head. Enter Pygmaliox, 2 d. l., imohserved^ led in by Myrine. Of all the horrors that surround him now, And it is fit that I should suffer this; Grant this, my first appeal — I do not ask Pygmalion's love; I ask Pygmalion's life. (Pygmalion utters an exclamation of joy. She rushes to him and seizes his hanel.) Pygmalion ! Pyg. . I have no words in which To tell the joy with which I heard that prayer. Oh, take me to thine arms, my dearly loved! And teach me once again how much I risked In risking such a heaven-sent love as thine. Gal. (believing that he refers to her.) Pygmalion! my love ! Pygmalion ! Once more those words! again! say them again! Tell me that thou forgivest me the ill That I unwittingly have worked on thee! PvG. Forgive thee? Why, m.y wife, I did not dare To asy thy pardon, and thou askest mine. The compact with thy mistress Artemis Gave thee a heaven-sent right to punish me, I've learnt to take whate'er the gods may send. (Galatea, eit first delighted^ learns in the course of this speech that PygjMALion tahes herforCYisi^- OA, and ex2?resses extreme horror.) Gal. {^with an efort.) But then, this woman, Galatea — Pyg. ' Well? Gal. Thy love for her is dead? Pyg. I had no love. Gal. Thou had'st no love? | Pyg. No love. At first, in truth, i In mad amazement at the miracle 1 That crowned my handiwork, and brought to life The fair creation of my sculptor's skill, 44 PYGMAIJOX AN]) GALATEA. I yielded to her god-sent influence, For I had worshipped her before she lived Because she called Oynisca's face to me; But when she lived — that love died — word by word. Gal. That is well said; thou dost not love her then? She is no more to thee than senseless stone? Pyg. Speak not of her, Cynisca, for I swear Enter Cynisca u. e. e. unobserved. The unhewn marble of Pentelicus Hath charms for me, which she, in all her glow Of womanly perfection, could not match. Gal. I'm very glad to hear that this is so. Thou art forgiven! {l^ksos his forehead.) Pyg. Thou hast pardoned me, And though the law of Artemis declared Thy pardon should restore to ine the light Thine anger took away, I would be blind, .1 would not have mine eyes leit they should rest On her who caused me all this bitterness I Gal. Indeed, Pygmalion — 'twere better thus — If thou could'st look on Galatea now. Thy love for her, percliance, might come again. Pyg. No, no. Gal. They say that she endureth pains That mock the power of words. Pyg. It should be so. Gal. Hast thou no pity for her? (Cvnisca comes doum.) Pyg. No, not I. The ill that she hath worked on thee — on me — And on Myrine — surely were enough To make us curse the hour that gave her life. She is not fit to live upon this world! Gal. {bitterly.) Upon this worthy world, thou sayest well. The woman shall be seen of thee no more. (Takes Cyxisca's hand and leads her to Pyg.) What would'st thou with her now? Thou hast thy wife! (jShe suh.^tiJiiti'.-< (h'NiscA i)i her place., and retires., I u. E. w.., v'fppinri. Cynisca takes himto her arms and kisses h im. He recovers his sight.) PYGXALIOX AXD GALATEA. 45 Pyg. Cjniscal seel the light of day is mine! | Once more I look upon thy well loved face ! E/iter Myi;ixe and Leucippe, u. e. r. Leuc. Pygmalion I Thou hast thine eyes again! Come — this is happiness indeed! Pyg. And thou? Myrinejias recalled thee? Leuc. No, I came, But more in sorrow than in penitence; For I've a hardened and a blood-stained heart, I thought she would denounce me to the law, But time, I found, had worked a wondrous change; The very girl, who half-a-day ago Had^ cursed me for a ruthless murderer, Not only pardoned me my infamy, But absolutely hugged me with delight, When she, with hungry and unpitying eyes, Beheld my victim— at the kitchen fire I The little cannibal-! Enter Galatea, u. e. k., down c. Myr. {after a pause^ Pygmalion! See — Galatea's here! (Galatea kneels to Pyg- malion). Pyg. Away from me. Woman or statue ! Thou the only blight That ever fell upon my love — begone, (She covers her eyes^ Cyistisca comforts her.) For thou hast been the curse of all who fell Within the compass of thy waywardness ! Cyx. No, no — recall those words, Pygmalion, Thou knowest not all. Gal. {rising 'and backing up stage.) Nay — let me go from him; That curse — his curse still ringing in mine ears. For life is bitterer to me than death. {She mounts the ste2)s of pedestal?) Farewell, Pygmalion — I am not fit 46 PYGMALIOX AXD GALATEA. To live upon tliis world — this worthy world. {Curt((his begin to close sloidy around Galatea.) Farewell, Pygmalion. Farewell — farewell! (The curtains conceal her.) Cyn. {(HigrUy.) Thou art unjust to her as I to thee! Hers was the voice that pardoned thee — not mine. I knew no pity till she taught it me. I heard the words she spoke, and little thought That they would find an echo in my heart; But so it was. I took them for mine own, And asking for thy pardon, pardoned thee! Pyg. {amazed.) Cynisca! Is this so? Cyn. In truth it is? Gal. {behind curtain.) Farewell, Pygmalion! Farewell — f arew^ell ! Pygmalion rushes to the veil amd tears it away discovering^ Galatea as a statue on the pedeMal., as in Act J.) [Soft Music. — Slow Cuktain. THE END. A MODERN ANANIAS, Comedy in Three Acts BY JOHN A. FRASER, Jr. Four male, four female characters. Two interior, one exterior scenes. Modern society cotumes. Plays two and one half hours. This is a screaming farcial comedy, which depends upon the wit and hamor of its lines no less than upon the drollery and absurdity of its situations for the shrieks of laugh- ter it invariably provokes. Unlike most farcical comedies, "A Modern Ana- nias" has an ingeniously complicated plot, which maintains a keen dramatic interest untill the fall of the last curtain. The scenery, if necessary, may be reduced to a garden scene and an interior. Every character in the piece is full of comedy of the most humorous description, and one of them, a fat old maid, may be performed by a male somewhat after the fashion of "Charley's Aunt." The climaxes are hilariously funny, and each of the three acts is punctuated with laughs from beginning to end. Amateurs will find nothing more satis- factorj'- in the whole range of the comic drama than this up-to-date comedy- farce by J. A. Fraser, Jr. The fullest stage directions accompany the book, including all the "crosses" and positions, pictures, etc. Price, 25 cents. TWIXT LOVE AND MONEY, Comedy Drama in Four Acts BY JOHN A. FRASER, Jr. Eight male, three female characters. Plays two and one-half hours. Three interior scenes. Costumes of the day. This charming domestic comedy drama of the present day bids fair to rival, both with professionals and amateurs, the success of "Hazel Kirke." The scene is laid in a little village on the coast of Maine, and the action is replete with dramatic situations which "play them- selves." The story is intensely interesting and, in these days of Frenchy adap- tations and "problem" plays, delightfully pure; while the moral— that love brings more happiness than does money— is plainly pointed without a single line of preaching. No such romatic interest has been built up around a simple country heroines since the production of ''Hazel Kirke" and "May Blossom" years ago. The play is in four acts, and as the scenery is easy to manage it is particularly well adapted for the use of amateurs. There are three female parts, two of them comic characters, and eight males, two of whom supply the comedy. The dressing is all modern and the piece forms a full evening's en- tertainment. The author, J. A. Fraser, Jr., has been highly successful as a dramatist for the professional stage, having written. "The Noble Outcast" "Edelweiss." "The Merry Cobbler." The Train Wreckers," "A Delicate Question." "A Modern Ananias." "Becky Bliss, the Circus Girl," and many other well-known and successful plays. "Twixt Love and Money" has been carefully revised by the author for the amateur stage. Price 25 cents. The Dramatic Publishing Company, Chicago. THE MERRY COBBLER. Comedy Drama in Four Acts BY JOHN A. FRASER, Jr. Six male, five female characters. Two interior, two exterior scenes. Mod- ern costumes. Time of play, one hoar and forty-five minutes. This refined, yet laugliter-making comedy, in which John R, Cumpson starred successfully for several seasons, has loeen carefully revised by the author for the amateur stage. Tiiis romantic story of a German imigrant boy in New Orleans, who falls in love with, and finally marries, a dashing Southern belle, is one of the cleanest and daintiest in the whole repertoire of the minor stage. In addition to the Merry Cobbler himself, who is one of the type the late J. K. Emmet so loved to portray, there are five other male characters, five female parts and very short parts for two little girls. Had the piece been originally written for the use of amateurs, it could not have been happier in its results, its natural and mirth-provoking comedy combined with a strong undercurrent of heart- interest, rendering it. a vehicle with which even inexperienced actors are sure \ to be seen at their best. The scenic effects are of the simplest description and the climaxes, while possessing the requisite amount of "thrill" are very easy to handle. This piece has been seen in all the larger cities of the Union dur- ing the past four seasons, and is now placed within the reach of amateurs for the first time. J. A. Eraser, Jr., author of " The Merry Cobbler," and a score of other successful plays, has prepared elaborate instructions for its production by amateur players. Price, 25 cents. A DELICATE QUESTION, Comedy Drama in Four Acts BY JOHN A. FRASER, Jr. Nine male, three female characters. One exterior, two interior scenes. Modern costumes. Plays two hours. If a play presenting an accurate picture of life in the rural districts is required, in which every character has been faith- fully studied from life, nothing better for the use of amateurs than "A Delicate Question " can he recommended. The story is utterly unlike that of any other play and de als with the saloon, which it handles without gloves and at the same time without a single line of sermonizing. What "Ten Nights in a Bar. room" was to the public of a past generation, "A Delicate Question" is des- tined to be to the present, although it is far from being exactly what is known as a "temperance play," The plot is intensely interesting, the pathetic scenes full of beauty, l)ecause they are mental photographs from nature, and the com- edy is simply upfSariously funny. The parts, very equally balanced. The scenic effects are quite simple, and by a little ingenuity the entire piece may be played in a kitchen scene. The climaxes are all as novel as they are eflfec- tive and the dialogue is as natural as if the characters were all real people. The author, J. A. Fraser. Jr., considers this one of his greatest successes. Price, 25 cents. The Dramatic Publishing Company, Chicago, THE DEESTRICK SKULE — OF — FIFTY YEARS AGO "The Deestrick Skule" has been given in scores of towns, and everywhere with success. The manual gives full instructions for get- ting up the "Deestrick Skule," It contains the questions and answers or the various classes, hints on costume, several "Compositions and pieces" for the latter part of the entertainment, a parting poetical Tribe-ute," from the "Maw" of two pairs of twins, and the speech of he "Head Committee Man." "One of the best entertainments of the kind it has been my •leasure to attend— Florence Lee in Good Housekeeping. Sent postpaid on receipt of price, 50 cents. BY EFFIE W. MERRIMAN. "With a view to providing societies or clubs devices both for enter- ainment and for making money for worthy objects, Effie W. Merri- lan, a well known writer of children's books, has completed a collec- ion of schemes for socials, which meet a long felt want. A church eeds furnishing, a poor family needs assistance, a new organ is want- d, a school library is to be started, a hospital calls for assistance and he question arises what can be got up that will be new and enter- aining. To reply to this the suggestions in this book are made. Many 'f them possess novel features and while simple would be apt to pro- ide plenty of amusement as well as money. — Hartford Post. "This little book supplies a long felt want on the part of societies, lubs, benevolent associations and other organizations for novelties nd entertamments. "More than a score of amusing socials and other entertainments re described in such plain and concise terms that no one of average bility could be other than successsful in their management." — Chicago 7lobe. Sent postpaid on receipt of price, 50 cents. The Dramatic Publishing Company. CHICAGO. LIBRftRY OF CONGRESS 014 PLAYS 014 491 073 4 # \ A 7 E keep in stock one of the largest and ^^ best assorted lines of plays to be found in the country. We can furnish any play published. Individuals and societies interested in this class of publications should first examine our lists before ordering else- where. Full descriptive catalogue, giving titles, number of characters, time required for production, etc., w^ill be sent free on application. The Dramatic Publishing Company, 358 Dearborn Street, CHICAGO.